FOR THE RECORD
"Requiem for County Gaul" the composition, references two musical motifs, Schubert's "Marche Militaire," and Tchaikovsky's "1812 Overture."
Your mission is to figure out why..
Just as "Dahli Mohammad" the single, had led to the first Timberjack Donoghue album, "Requiem for County Gaul" the single, was to give birth to the second Timberjack Donoghue Album.
(see Discography/second album/the recording sessions)
Producer Terence O'Neil-Joyce
was underwhelmed by the lyrics in the opening verse of this song and thought I could improve on them. He was right and here below is the new vastly improved version.
-REQUIEM FOR COUNTY GAUL-
& Music by John Donoghue)
Hey County Gaul I see your revolution's died,
and that your pitchforks have gone out of style.
if your new toy is such a blast
why don't you stick it up your arse? (Le Boom!)
Hey County Gaul I'm a witness to you crimes
and like your Uncle Sam you will pay for them in time
so you chose the race you want to run
the nuclear, instead of human one.
I'd like to sit here and think
well of you
but I see by your actions what you intend to do
you can't take mother nature and spit in her face
without being damned
I think you're damned.
Hey County Gaul you must be deaf and dumb and blind
to think that god will stand aside for you and your kind
let the pacific be
yours is a crime against humanity.
By strengthening your body you are weakening your mind,
don't you realise your children have to pay for your
how can you be so selfish
how can you
be so sure
you're not damned
I think you're
AND HERE'S WHAT THE PRESS HAD TO SAY..
Evening Post - 1974)
THE QUIET MAN
New Zealand Singer/Songwriter John Donoghue prefers to stay in the background most of the time, but when he has something to say, it's always well worth saying.
John's next single, "Requiem
for County Gaul," soon to be released, has an anti-bomb message with touches of Tchaikovsky's 1812 and Schubert's Marche Militaire.
The single, full of mandolins, oddly tuned guitars, flugelhorns
and south sea maidens, was recorded at EMI studios in Wellington and Stebbing Studios in Auckland.
It was engineered by Tony Moan and Phil Yule, produced by Terence O'Neil-Joyce.
Rumour has it that the blind gentleman with golden ears who was profiled on this very page last week, was also in the studio, acting as Musical Director.
Preview by Louise Warren