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Gaylord Perry and Willie McCovey should know each other like a book. They've been ex-teammates for years now.

quote by Jerry Coleman
Added by Lucian Velea
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The Mother's Lesson

Come hither an' sit on my knee, Willie,
Come hither an' sit on my knee,
An' list while I tell how your brave brither fell,
Fechtin' for you an' for me:
Fechtin' for you an' for me, Willie,
Wi' his guid sword in his han'.
Hech, but ye'll be a brave man, Willie,
Hech, but ye'll be a brave man!

Ye min' o' your ain brither dear, Willie,
Ye min' o' your ain brither dear,
How he pettled ye aye wi' his pliskies an' play,
An' was aye sae cantie o' cheer:
Aye sae cantie o' cheer, Willie,
As he steppit sae tall an' sae gran',
Hech, but ye'll be a brave man, Willie,
Hech, but ye'll be a brave man.

D'ye min' when the bull had ye doun, Willie,
D'ye min' when the bull had ye doun?
D'ye min' wha grippit ye fra the big bull,
D'ye min' o' his muckle red woun'?
D'ye min' o' his muckle red woun', Willie,
D'ye min' how the bluid doun ran?
Hech, but ye'll be a brave man, Willie,
Hech, but ye'll be a brave man.

D'ye min' when we a' wanted bread, Willie,
the year when we a' wanted bread?
How he smiled when he saw the het parritch an' a',
An' gaed cauld an' toom to his bed:
Gaed awa' toom to his bed, Willie,
For the love o' wee Willie an' Nan?
Hech, but ye'll be a brave man, Willie,
Hech, but ye'll be a brave man!

Next simmer was bright but an' ben, Willie,
Next simmer was bright but an' ben,
When there cam a gran' cry like a win' strang an' high
By loch, an' mountain, an' glen:
By loch, an' mountain, an' glen, Willie,
The cry o' a far forrin lan',
An' up loupit ilka brave man, Willie,
Up loupit ilka brave man.

[...] Read more

poem by Sydney Thompson Dobell
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Rambling, Gambling Willie

Come around you rovin gamblers and a story I will tell
About the greatest gambler, you all should know him well.
His name was will o conley and he gambled all his life,
He had twenty-seven children, yet he never had a wife.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
He gambled in the white house and in the railroad yards,
Wherever there was people, there was willie and his cards.
He had a reputation as the gamblinest man around,
Wives would keep their husbands home when willie came to town.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
Sailin down the mississippi to a town called new orleans,
Theyre still talkin about their card game on that jackson river queen.
Ive come to win some money, gamblin willie says,
When the game finally ended up, the whole damn boat was his.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
Up in the rocky mountains in a town called cripple creek,
There was an all-night poker game, lasted about a week.
Nine hundred miners had laid their money down,
When willie finally left the room, he owned the whole damn town.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
But willie had a heart of gold and this I know is true,
He supported all his children, and all their mothers too.
He wore no rings or fancy things, like other gamblers wore,
He spread his money far and wide, to help the sick and the poor.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
When you played your cards with willie, you never really knew
Whether he was bluffin or whether he was true.
He won a fortune from a man who folded in his chair.
The man, he left a diamond flush, willie didnt even have a pair.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
It was late one evenin during a poker game,
A man lost all his money, he said willie was to blame.
He shot poor willie through the head, which was a tragic fate,
When willies cards fell on the floor, they were aces backed with eights.
And its ride, willie, ride,
Roll, willie, roll,
Wherever you are a-gamblin now, nobody really knows.
So all you rovin gamblers, wherever you might be,

[...] Read more

song performed by Bob Dylan
Added by Lucian Velea
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The Widow's Lullaby

She droops like a dew-dropping lily,
'Whisht thee, boy, whisht thee, boy Willie!
Whisht whisht o' thy wailing, whisht thee, boy Willie!'

The sun comes up from the lea,
As he who will never come more
Came up that first day to her door,
When the ship furled her sails by the shore,
And the spring leaves were green on the tree.

But she droops like a dew-dropping lily,
'whisht thee, boy, whisht thee, boy Willie!
Whisht whisht o' thy wailing, whisht thee, boy Willie!'

The sun goes down in the sea,
As he who will never go more
Went down that last day from her door,
When the ship set her sails from the shore,
And the dead leaves were sere on the tree.

But she droops like a dew-dropping lily,
'Whisht thee, boy, whisht thee, boy Willie!
Whisht whisht o' thy wailing, whisht thee, boy Willie!'
The year comes glad o'er the lea,
As he who will never come more,
Never, ah never!
Came up that first day to her door,
When the ship furled her sails by the shore,
And the spring leaves were green on the tree.
Never, ah never!
He who will come again, never!

But she droops like a dew-dropping lily,
'Whisht thee, boy, whisht thee, boy Willie!
Whisht whisht o' thy wailing, whisht thee, boy Willie!'

The year goes sad to the sea,
As he who will never go more
For ever went down from her door,
Ever, for ever!
When the ship set her sails by the shore,
And the dead leaves were sere on the tree.
Ever, for ever!
For ever went down from her door.

[...] Read more

poem by Sydney Thompson Dobell
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MINNIE & WILLIE (A Tale of Two Lovers)

Gather-round folks, hear this grand tale
Of how two unlikely lovers did meet
Of Minnie Minnow and Willie Whale
A great love that knew no defeat

She swam in a school, him in a pod
They met one fine day by a reef
Willie’s pod readied to migrate abroad
His great eye caught a glimpse ever brief

Minnie was a vision of grace and style
She smiled, splayed her delicate fins
It was young Willie she’d soon beguile
This is where our love story begins;

Love struck Willie come a courtin one day
Seaweed bouquet tucked under a fluke
Asked, Schoolmarm if Minnie could play
Willie hoped he’d not get rebuked

“Suppose its alright” said Schoolmarm
“Please get her back here by noon”
Minnie was taken by Willie’s naive charm
Clearly this mammal was no one’s buffoon

Fin-in-fluke they swam to a nearby lagoon
Began then a most beautiful romance
A sweet kiss they shared that forenoon
Destined were they to a lifelong dance

In time Minnie and Willie came of age
On bended tail Willie proposed
Lo! Both sets of parents flew into a rage
Knew not of the marriage presupposed

Panicked...Minnie burst into tears
Had no idea her parents would mind
Or that they might interfere
Insisting she only marry her kind

Pod asked Elder Whale who promptly said no
Losing hope young lovers went into despair
Till Willie grabbed Minnie, said “We’ll elope! ”
“Losing you Minnie I just could not bear”

Their journey began with a swim North to South
Migrating to warm waters of Captain Cook Bay
When Minnie tired she’d ride in Willie’s mouth
Willie assured, ”Hawaii’s not that far away”

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poem by Ray Lucero
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Jamie Telfer

It fell about the Martinmas tyde,
When our Border steeds get corn and hay
The captain of Bewcastle hath bound him to ryde,
And he's ower to Tividale to drive a prey.

The first ae guide that they met wi',
It was high up Hardhaughswire;
The second guide that we met wi',
It was laigh down in Borthwick water.

'What tidings, what tidings, my trusty guide?'
'Nae tidings, nae tidings, I hae to thee;
But, gin ye'll gae to the fair Dodhead,
Mony a cow's cauf I'll let thee see.'

And whan they cam to the fair Dodhead,
Right hastily they clam the peel;
They loosed the kye out, ane and a',
And ranshackled the house right weel.

Now Jamie Telfer's heart was sair,
The tear aye rowing in his e'e;
He pled wi' the captain to hae his gear,
Or else revenged he wad be.

The captain turned him round and leugh;
Said--'Man, there's naething in thy house,
But ae auld sword without a sheath,
That hardly now wad fell a mouse!'

The sun was na up, but the moon was down,
It was the gryming o' a new fa'n snaw,
Jamie Telfer has run three myles a-foot,
Between the Dodhead and the Stobs's Ha'

And whan he cam to the fair tower yate,
He shouted loud, and cried weel hie,
Till out bespak auld Gibby Elliot--
'Wha's this that brings the fraye to me?'

'It's I, Jamie Telfer o' the fair Dodhead,
And a harried man I think I be!
There's naething left at the fair Dodhead,
But a waefu' wife and bairnies three.

'Gae seek your succour at Branksome Ha'.
For succour ye'se get nane frae me!
Gae seek your succour where ye paid black-mail,
For, man! ye ne'er paid money to me.'

[...] Read more

poem by Andrew Lang
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Kinmont Willie

O have ye na heard o the fause Sakelde?
O have ye na heard o the keen Lord Scroop?
How they hae taen bauld Kinmont Willie,
On Hairibee to hang him up?

Had Willie had but twenty men,
But twenty men as stout as be,
Fause Sakelde had never the Kinmont taen
Wi eight score in his companie.

They band his legs beneath the steed,
They tied his hands behind his back;
They guarded him, fivesome on each side,
And they brought him ower the Liddel-rack.

They led him thro the Liddel-rack.
And also thro the Carlisle sands;
They brought him to Carlisle castell.
To be at my Lord Scroope's commands.

'My hands are tied; but my tongue is free,
And whae will dare this deed avow?
Or answer by the border law?
Or answer to the bauld Buccleuch?'

'Now haud thy tongue, thou rank reiver!
There's never a Scot shall set ye free:
Before ye cross my castle-yate,
I trow ye shall take farewell o me.'

'Fear na ye that, my lord,' quo Willie:
'By the faith o my body, Lord Scroope,' he said,
'I never yet lodged in a hostelrie--
But I paid my lawing before I gaed.'

Now word is gane to the bauld Keeper,
In Branksome Ha where that he lay,
That Lord Scroope has taen the Kinmont Willie,
Between the hours of night and day.

He has taen the table wi his hand,
He garrd the red wine spring on hie;
'Now Christ's curse on my head,' he said,
'But avenged of Lord Scroope I'll be!

'O is my basnet a widow's curch?
Or my lance a wand of the willow-tree?
Or my arm a lady's lilye hand,
That an English lord should lightly me?

[...] Read more

poem by Andrew Lang
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What Would Willie Do

I was lost in trouble and strife, I heard a voice and it changed my life
And now it's a brand new day, and I ain't afraid to say
You're not alone when you're down and out
And I think you know who I'm talking about
When I don't know how I'll get through
I ask myself what would Willie do
What would Willie do, well he'd travel so far with nothing but a song and his old guitar
And a tour bus and some semi-trucks, thirty crew men and a little bit of luck
Well he loves all the people, the ugly and the randy
If you don't believe me take a look at the family
And they'll tell you that it's true
When skies are gray what would Willie do
Well long ago he came unto us, his words were simple but they went right through us
And the whole world sang along, but then they didn't want to hear his songs
He was gone and we thought we'd lost him
But he grew his hair and he moved to Austin
And all of the people smiled, they came to hear him sing from miles
Like a miracle all those rednecks and hippies
From New York City down to Mississippi
Stood together and raised a brew
When it's all gone wrong what would Willie do
You know sometimes I wonder when I ain't gettin' nowhere
What would old Willie do when it all gets too much to bear
And I can see him on his lonely old tour bus
And he's got his problems just like any of us
Well he'd just take a deep breath and then he'd let it all go
And he'd take another deep breath and let it all go
And he'd take another deep breath...and he'd hold it
Ah and I bet he'd feel hungry in a way that seems strange
Yeah hungry for all the things that he just can't change
Like the time he passed out in is own bedroom
And his wife sewed him up in the sheets and beat him with a broom and he forgave her
And you think that's rough, well then the IRS came and they took away all of his stuff
They took his golf course and his recording studio, and he just went out and did another show
So when it's all coming down on you
You better ask yourself what would Willie do
What would Willie do, well he'd take a little time
And talk to old rooser as he'd drive on down the line
And there's millions down that road, and with a word he's gonna lighten their load
He loves all the people no matter their races
Hell he even had a hit country song with Julio Iglesias
And that ain't easy to do, so when it's all too much, what would Willie
When the game gets tough what would Willie
When they call your bluff what would Willie do

song performed by Gary Allan
Added by Lucian Velea
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Now, Heart' - Some Of What I Remember When I Listen

A river is a process through time, and the river stages are its momentary parts.
—Willard Van Orman Quine

From early poems,1970s, youthful indiscretions/attempts to vocally/poetically arrive at/derive a worthwhile writer's voice. Some explication might serve or enhance these under serving, undeserving though 'striving-after' poems hidden in old journals understandably unpublished but now so with apologies which are these expiatory explanations. Recently rediscovering these early arrivals, derivative yet aspiring I recognized and reembraced an enduring self maturing, arriving into late middle age:

Obsessed newly by jazz, mad about the many miraculous lady singers, entranced all too easily as youth are wont to be by sorrows and sexual infatuations which feel, emphasis on 'feel', like love, here are two of many 'songs' as tributes and life markers to jazz singers who provided soundtrack and felt expression to my angst and easily inflated/deflated sense of self, of beloved others, and of that new territory, independent life away from parental home and childhood community discovering, blundering into the fray of separate hearts and minds, irresponsible genitals and insouciant jouissance ('juiciness', in French) , discovering then and again and again that like Walt Whitman I 'contain worlds' and many disparate selves poorly formed, most of them collective projections and expectations of who or what I wanted to be, what others wanted and expected me to be, resulting in much confusion, tumult and multitudes of momentary throw-away selves. Thus singers like Bessie Smith and Dinah Washington became anchors, warm contexts and containers, for my daily fragmentation and re-formation.

I lived on 3rd street in downtown Chattanooga, a refugee from zealous, politically conservative white evangelicals and the vestigial yet still viral Southern Confederacy. Just a block or two from where Bessie Smith was born, I used to watch from my upstairs porch the steep hilly street's comings and goings with a glimpse of the Tennessee River between tenements across the street, its persistent rich aroma heavy in the air. I imagined Bessie Smith as a little girl playing up and down the street like the kids I saw then - once, two of them gleefully chasing a frighteningly large and confused looking rat.

William—he insisted on 'Willie'—an old man down the street who knew Bessie as a little girl, used to come up to my porch after one day hearing Bessie from my phonograph singing blues onto the always busy but attentive street. One of the first and permanent things I learned from my porch is that a city street has keen, observant eyes, acute ears, omnivorously seeing/hearing everything, indifferently, perhaps, but nothing escapes it, a roving, all-knowing urban Eye of God.

Extremely green and eager as green always is though stutteringly, and without apology, I enjoyed Willie's many stories and back pocket bottles of Old Mr. Boston Apricot Brandy, both of which—story and spirits/spirited story —dissolved or appeared to, age, racial, cultural, and sociological differences, along with those catalysts/cata-lusts, the forever alchemical Bessie and other jazz singers, Billie! Dinah! Ella! Sassy! Lil Ester Phillips! Nina Simone! to name only a few of the sensuous solutio chanteuses resolving sexual confoundaries by Miss-ambiguating sins' plethera with loose lilt and will- o-the-lisp whisper tongues.

One night Willie, much 'in the pocket'—an expression for being well onto tipsy which I've never heard from anyone but him—wanted to dance to a Bessie tune playing, 'Back Water Blues', him recalling nights as a young man in rural Tennessee where he'd worked hard days in oppressive vegetable fields then hit the after hours juke joints for 'colored, twas segregation days, ' he explained, where he would go to drink, dance then dive/delve, as it were, into the sensual mysteries of moist skin, hot breath, mutually open mouths with their commodious moans and mumbles, venial hands, always vital parts, private hearts mutually pounding ancient known rhythms, odors and tastes of gin and those slender, forbidden, now greedily stolen bites in those all too short nights with their damned intrusive dawns.

'Dawnus interuptus, ' I quipped, us both slapping knees, passing the narrative bottle fore and aft hefting moments re-grasped between us, offerings to the equally narrative river, the all-knowing hungry street.

Jumping to his feet, Willie described 'powder dancin'' (pronounced marvelously, 'powdah') which I had never heard of. Talcum powder would be copiously scattered onto the dance floor where couples in stocking or bare feet would ecstatically dance, gliding and sliding sweetly scented, muskily bent toward later glides and slides in the slippery joy of momentary allure and amour on dimmed porches or surrounding woods often enough and gratis upon delicate slabs of moonlight gratuitously dewy providing cushion for Passion's out and in, honoring and dignifying deities of skin wanting more making more skin, headlong Nature's frictional algo-rhythms indelibly scored in every/each his/her yawing yen.

Willie shouted, 'YOU GOT ANY TALC POWDER? ! '

...The jazz us trembled...

'NO! ' I bellowed, curious.

'YOU GOT ANY FLOUR? ! '

Even more curious, 'YEAH! ! '

'GO GIT IT! QUICK! ! '

He grinned an Old Mr. Boston juke-joint night-memories quaff-again grin.

Martha White, a brand of flour sold down South, has never been put to better use. Willie threw handfuls of 'Martha' over the tenement-planked living room floor as I half protested at the mess it (and me and Willie) was and would become. Completely gripped by his present-in-the-past brandy trance, a much younger man now, he suddenly grabbed me, brandied and tranced, too, my long hair flying, and danced me all over the floor the night through with swigs of Old But Now Spry 'n' Sprightly Mr. Boston with pauses to change record albums on the phonograph, 'catching up our breaths, ' he panted.

Next morning (more likely early afternoon) , Willie long gone, I awakened sprawled on the penitent porch—a cool concrete floor my sinner's bench—sweaty and thick as pan gravy, mosquito bitten, marinaded in Tennessee night mists. I staggered into the living room onto the ghostly floor powdery white, 'stroked' with two attached, or close to, sets of foot prints, heel slides and smears, a kind of 'Jackson Pollock meets Tibetan sand painting 'yazzed' yantra'**' with cigarette ashes flicked into the flickering impermanent mix. I've not powder danced since when we drank discovering oral history's joys, opened eager ears and fraternal arms forgetting fears of race and religion, age and expressed/ espressed Desire's multilingual disseminations.

I know that wheat is anciently sacred but now even more so for flour, the sight and feel of it, its unbaked smell, turns me again toward a Chattanooga 3rd street, its compass river swelling like bread nearby bearing witness still for one cannot say too much about rivers—their irreverence of edges scored, spilling themselves, proclaiming natural gods deeper than memory yet dependent upon it for traced they must be in every human activity, no matter the breech, for something there is to teach even deity though it may be wrong to do so, or hearsay to say it or sing, but the song is there for those whose ears are broken onto bottoms from which cry urgencies of Being and between, dutiful banks barely containing the straining Word.

**From Tibetan Buddhism. Visual meditation devices,
Yantras function as revelatory conduits of cosmic truths.

1. To Bessie Smith,3rd Street Chattanooga (circa 1971)

Already the river begins its sweat.
April to September I'll be on the porch
Come sunsets listening to cars in the
Dark and you, remembering the flour
On the floor and me and Willie in
Stocking feet dancing till dawn,

[...] Read more

poem by Warren Falcon
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Eighth Book

ONE eve it happened when I sate alone,
Alone upon the terrace of my tower,
A book upon my knees, to counterfeit
The reading that I never read at all,
While Marian, in the garden down below,
Knelt by the fountain (I could just hear thrill
The drowsy silence of the exhausted day)
And peeled a new fig from that purple heap
In the grass beside her,–turning out the red
To feed her eager child, who sucked at it
With vehement lips across a gap of air
As he stood opposite, face and curls a-flame
With that last sun-ray, crying, 'give me, give,'
And stamping with imperious baby-feet,
(We're all born princes)–something startled me,–
The laugh of sad and innocent souls, that breaks
Abruptly, as if frightened at itself;
'Twas Marian laughed. I saw her glance above
In sudden shame that I should hear her laugh,
And straightway dropped my eyes upon my book,
And knew, the first time, 'twas Boccaccio's tales,
The Falcon's,–of the lover who for love
Destroyed the best that loved him. Some of us
Do it still, and then we sit and laugh no more.
Laugh you, sweet Marian! you've the right to laugh,
Since God himself is for you, and a child!
For me there's somewhat less,–and so, I sigh.

The heavens were making room to hold the night,
The sevenfold heavens unfolding all their gates
To let the stars out slowly (prophesied
In close-approaching advent, not discerned),
While still the cue-owls from the cypresses
Of the Poggio called and counted every pulse
Of the skyey palpitation. Gradually
The purple and transparent shadows slow
Had filled up the whole valley to the brim,
And flooded all the city, which you saw
As some drowned city in some enchanted sea,
Cut off from nature,–drawing you who gaze,
With passionate desire, to leap and plunge,
And find a sea-king with a voice of waves,
And treacherous soft eyes, and slippery locks
You cannot kiss but you shall bring away
Their salt upon your lips. The duomo-bell
Strikes ten, as if it struck ten fathoms down,
So deep; and fifty churches answer it
The same, with fifty various instances.
Some gaslights tremble along squares and streets
The Pitti's palace-front is drawn in fire:

[...] Read more

poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
Added by Veronica Serbanoiu
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I. The Ring and the Book

Do you see this Ring?
'T is Rome-work, made to match
(By Castellani's imitative craft)
Etrurian circlets found, some happy morn,
After a dropping April; found alive
Spark-like 'mid unearthed slope-side figtree-roots
That roof old tombs at Chiusi: soft, you see,
Yet crisp as jewel-cutting. There's one trick,
(Craftsmen instruct me) one approved device
And but one, fits such slivers of pure gold
As this was,—such mere oozings from the mine,
Virgin as oval tawny pendent tear
At beehive-edge when ripened combs o'erflow,—
To bear the file's tooth and the hammer's tap:
Since hammer needs must widen out the round,
And file emboss it fine with lily-flowers,
Ere the stuff grow a ring-thing right to wear.
That trick is, the artificer melts up wax
With honey, so to speak; he mingles gold
With gold's alloy, and, duly tempering both,
Effects a manageable mass, then works:
But his work ended, once the thing a ring,
Oh, there's repristination! Just a spirt
O' the proper fiery acid o'er its face,
And forth the alloy unfastened flies in fume;
While, self-sufficient now, the shape remains,
The rondure brave, the lilied loveliness,
Gold as it was, is, shall be evermore:
Prime nature with an added artistry—
No carat lost, and you have gained a ring.
What of it? 'T is a figure, a symbol, say;
A thing's sign: now for the thing signified.

Do you see this square old yellow Book, I toss
I' the air, and catch again, and twirl about
By the crumpled vellum covers,—pure crude fact
Secreted from man's life when hearts beat hard,
And brains, high-blooded, ticked two centuries since?
Examine it yourselves! I found this book,
Gave a lira for it, eightpence English just,
(Mark the predestination!) when a Hand,
Always above my shoulder, pushed me once,
One day still fierce 'mid many a day struck calm,
Across a Square in Florence, crammed with booths,
Buzzing and blaze, noontide and market-time,
Toward Baccio's marble,—ay, the basement-ledge
O' the pedestal where sits and menaces
John of the Black Bands with the upright spear,
'Twixt palace and church,—Riccardi where they lived,
His race, and San Lorenzo where they lie.

[...] Read more

poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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Kissing Willie

Breaking hearts in a market town. she eats filet of sole
And washes it down with sparkling wine.
Nice girl, but a bad girls better. qualifies in both ways
To my mind. but now shes kissing willie.
She shows a leg --- shows it damn well. knows how to drive a man
Right back to being a child.
Well, shes a --- nice girl, but her bad girls better. I can read
It in her cheating eyes and know that in a while --- well,
Shell be kissing willie. (my best friend, willie.)
Willie stands and willie falls. willie bangs his head
Behind grey factory walls.
Shes a --- nice girl, but her bad girls better. me and willie
Just cant help come, when she calls.
Now shes kissing willie. (my best friend, willie.)

song performed by Jethro Tull
Added by Lucian Velea
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I'll Never Smoke Weed With Willie Again

I always heard that his herb was top shelf
I just couldn't wait to find out for myself
Don't knock it till you tried it, well I tried it my friend
I'll never smoke weed with Willie again
I learned a hard lesson in a small Texas town
He fired up a fat boy and he passed him around
The last words I spoke before they tucked me in
I'll never smoke weed with Willie again
I'll never smoke weed with Willie again
My party's all over before it began
You can pour me some old whiskey river my friend
But I'll never smoke weed with Willie again
I hopped on his old bus, the Honeysuckle Rose
The party was Vegas, it was after the show
Alone in the front lounge, just me and him
With one parting puff grime creeper set in
I'll never smoke weed with Willie again
My party's all over before it began
You can pour me some old whiskey river my friend
But I'll never smoke weed with Willie again
Now we're passing the guitar, telling good jokes
I know ones a coming cause I'm smelling smoke
No I do not partake, I just let it pass by
With a smile on my face and a great contact high
I'll never smoke weed with Willie again
My party's all over before it began
You can pour me some old whiskey river my friend
But I'll never smoke weed with Willie again
In the fetal position with drool on my chin
I messed up and smoked weed with Willie again

song performed by Toby Keith
Added by Lucian Velea
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Time For Tea

Scouring through the wasteland
With an uge to take
Anything that comes into view
Only ten more puffs to tea time
Ive found eating so time consuming
Willie, oh willie she cried
Its time for tea
Willie, where in hell has he gone
Its time for tea
South of the wateland at your d.i.y.
The inconsiderate rings his till
Offering plans of easy credit
Claims hell cause a killing in the school half term
Willie, oh willie she cried
Its time for tea
Willie, where in hell has he gone
Its time for tea
And welly well well well what have I found here
A hiding place made by frigid air
I think Ill try it on and give my mates a scare
Theyll all be searching neither here nor there
Willie, oh willie she cried
Its time for tea
Willie, where in hell has he gone
Its time for tea
Long depress of autumn breeze
Sucking on a rubber back teeth
Plays into the hands of the hardware man
Who selfishly I dont care

song performed by Madness
Added by Lucian Velea
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Robber & The Roadie

When willie met ronnie he was runnin up a track
He was bent down, burned out, carryin a sack
Come on boy, you got to stop and help me some
And keep this money hidden when the police come
Ronnie was shiverin and makin funny sounds
He was lookin like a fox
That was runnin from the hounds
Sure little buddy, I can lighten up your load
You half it up, Ill hit it up, Ill take it down the road
Never had a better combination been planned
cos willie was a roadie with a rock n? roll band
They were heads back, celebratin, drinkin moonshine
Heads down, here we go across another state line
Tanked up and bullet proof
They couldnt give a monkeys
Damn if he didnt hide the money in a drum case
Pack em up, hit em up, do another show
The robber and the roadie got a long way to go
Willie and ronnie
Anytime they wanted they would pull another job
Anywhere they found a place
And it was fat enough to rob
If ronnie saw the police he would make a little sign
Then willie stuck the money in the bands back line
In the main racks, bass stacks
Anywhere he thought it could
Be hidden out of sight
Until the finished out in hollywood
Split it down the middle
When they took it out the sound
The robber and the roadie got enough to go around
Willie and ronnie
The robber and the roadie
Forty seven days and they had only one to go
When the telegram arived
To say the band wouldnt show
The crowd was getting nasty and it turned into a rage
The bottles and the bodies started coverin the stage
Then the cops came running in
And breaking up the riotin
When they saw the money falling
Out the back of everything
Hey little buddy think its time to run and duck
The robber and the roadie could be runnin out of luck
Willie and ronnie had to skip it out of town
They were sittin by the highway like jackson browne
They were stickin out their thumbs
In the middle of the night
When they saw the car comin with the spinnin red light
Wide eyed, tongue tied feelin pretty stranded

[...] Read more

song performed by Nazareth
Added by Lucian Velea
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Fifth Book

AURORA LEIGH, be humble. Shall I hope
To speak my poems in mysterious tune
With man and nature,–with the lava-lymph
That trickles from successive galaxies
Still drop by drop adown the finger of God,
In still new worlds?–with summer-days in this,
That scarce dare breathe, they are so beautiful?–
With spring's delicious trouble in the ground
Tormented by the quickened blood of roots.
And softly pricked by golden crocus-sheaves
In token of the harvest-time of flowers?–
With winters and with autumns,–and beyond,
With the human heart's large seasons,–when it hopes
And fears, joys, grieves, and loves?–with all that strain
Of sexual passion, which devours the flesh
In a sacrament of souls? with mother's breasts,
Which, round the new made creatures hanging there,
Throb luminous and harmonious like pure spheres?–
With multitudinous life, and finally
With the great out-goings of ecstatic souls,
Who, in a rush of too long prisoned flame,
Their radiant faces upward, burn away
This dark of the body, issuing on a world
Beyond our mortal?–can I speak my verse
So plainly in tune to these things and the rest,
That men shall feel it catch them on the quick,
As having the same warrant over them
To hold and move them, if they will or no,
Alike imperious as the primal rhythm
Of that theurgic nature? I must fail,
Who fail at the beginning to hold and move
One man,–and he my cousin, and he my friend,
And he born tender, made intelligent,
Inclined to ponder the precipitous sides
Of difficult questions; yet, obtuse to me,–
Of me, incurious! likes me very well,
And wishes me a paradise of good,
Good looks, good means, and good digestion!–ay,
But otherwise evades me, puts me off
With kindness, with a tolerant gentleness,–
Too light a book for a grave man's reading! Go,
Aurora Leigh: be humble.
There it is;
We women are too apt to look to one,
Which proves a certain impotence in art.
We strain our natures at doing something great,
Far less because it's something great to do,
Than, haply, that we, so, commend ourselves
As being not small, and more appreciable
To some one friend. We must have mediators

[...] Read more

poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
Added by Veronica Serbanoiu
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Truth and the Devil

The devil unstoppably took pride in salaciously writing; the book of
obnoxious caste-creed and venomously penalizing hatred,

The devil unstoppably took pride in acrimoniously writing; the book of
indiscriminate bloodshed and disastrously traumatizing ruthlessness,

The devil unstoppably took pride in vengefully writing; the book of
tyrannical devastation and lecherously bellicose orphaning,

The devil unstoppably took pride in fretfully writing; the book of
vindictive war and satanically criminal holocausts,

The devil unstoppably took pride in maliciously writing; the book of
coldblooded barbarism and manipulatively bizarre malice,

The devil unstoppably took pride in forlornly writing; the book of
worthless
ghosts and mortuaries brutally anointed with fresh blood,

T The devil unstoppably took pride in indigently writing; the book of
nonchalant spuriousness and fecklessly insipid meaninglessness,

The devil unstoppably took pride in torturously writing; the book of
ominous
animosity and hedonistically pugnacious illwill,

The devil unstoppably took pride in dictatorially writing; the book of
licentious bawdiness and insanely threadbare nothingness,

The devil unstoppably took pride in heinously writing; the book of
lascivious poverty and baselessly crippling uncertainty,

The devil unstoppably took pride in savagely writing; the book of
despicable
defeat and lethally ballistic atrociousness,

The devil unstoppably took pride in raunchily writing; the book of
dolorous
delinquency and insidiously slandering betrayal,

The devil unstoppably took pride in preposterously writing; the book of
scurrilous lunatism and barbarously incarcerating fiendishness,

The devil unstoppably took pride in frigidly writing; the book of
jejune
mockery and impudently castigating brazenness,

The devil unstoppably took pride in heartlessly writing; the book of
ghastly
bloodshed and indefatigably bombarding politics,

[...] Read more

poem by Nikhil Parekh
Added by Poetry Lover
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I Loved A Man

(elton john/ george martin - lyrics based on the works of dylan thomas )
Producers for bonnie: george martin
Recorded in 1988 for george martin's production of dylan thomas's play 'under milk wood'. bonnie guested with a host of other welsh stars, including anthony hopkins and tom jones. lyrics taken from careful listening.
I loved a man who's name was tom
He's strong as a bear and two yards long
I loved a man who's name was dick
He was big as a barrel and three feet thick
And i loved a man who's name was harry
Six feet tall and sweet as a cherry
But the one i love best, awake or asleep
Was little willie wee, and he's six feet deep
Oh tom, dick and harry were three fine men
And i'll never have such loving again
Little willie wee who took me on his knee
Little willie weasel was the man for me
Now men from every parish 'round
Run after me and roll me on the ground
But whenever i love another man back
Johnny from the hill, or sailing jack
I always think as they do what they please
Of tom, dick and harry who are tall as trees
But most i think when i'm by their side
Of little willie wee who downed and died
Oh tom, dick and harry were three fine men
And i'll never have such loving again
Little willie wee who took me on his knee
Little willie weasel was the man for me
Little willie weasel was the man for me
(the following is a reprise featured later)
Now when farmers boys on the first fair day
Come down from the hills to drink and be gay
Before the sun sinks, i lie there in their arms
For they're good bad boys from the lonely farms
And i always think as we tumble into bed
Of little willie wee, who's dead, dead, dead

song performed by Bonnie Tyler
Added by Lucian Velea
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Perry Mason

On his way to dinner when it took him by suprise
And with one pull of the trigger he would vanish overnight
Dancing by the roadside, holding on for dear life
Then a gun from out of nowhere made a widow of his wife
I dont mind, single file down the runway
Feelin fine, and Ill see you my friend
Over and over again
Who can we get on the case?
We need perry mason
Someone to put you in place
Calling perry mason
Riding painted horses, oh the kids they love it so
You can see it on their faces, how they love the wind to blow
Minding my own business like my mama always said
But if I dont try to help him they could wind up on the front page
I dont mind, draw the line then draw me an arrow
Feelin fine, then Ill see you my friend
Over and over again
Who can we get on the case?
We need perry mason
Someone to put you in place
Calling perry mason again, again
Wake me when its over, tell me its all right
Just keep on talking baby, Ive been doing this all night
How much did you give me, tell me itll be all right
Who can we get on this case?
We need perry mason
Someone to put you in place
Calling perry mason, again, again, again, again

song performed by Ozzy Osbourne
Added by Lucian Velea
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Willie & The Hand Jive

Way back when in fifty eight
We had a move that move was great
We could walk and stroll and susie q
We could do that crazy hand jive too
Remember a cat called way out willie
A cool cat called rockin billy
Mama said to willie youll ruin my home
And you and that hand jive have got to go
cos he was hand jivin he was hand jivin
He would hand jive day and night hand jive
Willie had a girl called jivin jilly
Inhibitions she didnt have any
Willie would stop jilly kept cryin
To let him do that hand jive one more time
They were hand jivin they were hand jivin
They would hand jive day and night
Hand jive day and night
Willie and jilly got married one fall
They had a little willie junior and thats not all
Little willie got famous and its plain to see
That he did that hand jive on tv
They were hand jivin they were hand jivin
They would hand jive day and night hand jive
Always hand jivin yeah hand jivin
We would hand jive day and night hand jive
I can remember about fifty four
Rocknroll was at my door
Fifty five and elvis was king
Rocknroll was everything
Fifty six fifty seven rocknroll carried me to heaven
And looking in on fifty eight
They opened up that pearly gate
We could rock we could roll
Everyone could do the stroll
Dancin just to stay alive
We all did the crazy hand jive

song performed by Cliff Richard
Added by Lucian Velea
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Down On The Corner (feat. Lance Diamond)

Early on the evening, just about suppertime
Over by the courthouse, they're startin' to unwind
Poor kids on the corner tryin' to bring you up
Willie picks a tune out and he knows they gonna start
Down on the corner
Out in the street
Willie and the Poor Boys are playin'
Bring a nickel tap your feet
Johnny hits the washboard, people just gotta smile
Robby thumbs a gut-bass and solos for a while
Poor boy brings the rhythm on his kalamazoo
And Willie goes into a dance doubles on kazoo, hey!
Down on the corner
Out in the street
Willie and the Poor Boys are playin'
Bring a nickel tap your feet
Down on the corner
Out in the street
Willie and the Poor Boys are playin'
Bring a nickel tap your feet
Down on the corner
Out in the street
Willie and the Poor Boys are playin'
Bring a nickel tap your feet
You don't need a penny just to hang around
But if you got a nickel won't ya lay your money down
Over on the corner there's a happy noise
People come from all around to watch the magic boy
Down on the corner
Out in the street
Willie and the Poor Boys are playin'
Bring a nickel tap your feet
[fade out

song performed by Goo Goo Dolls
Added by Lucian Velea
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