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You're tuned to 91.7 FM, Classical Radio, KSUI in Iowa City.

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Now we should have a little herald.

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Ta-da!

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Shiggly Mix comes your way next.

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Peter, are you ready?

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How can you even ask?

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Here's the theme.

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Hello there, I'm Peter Shiggly, and this is Shiggly Mix, a program dedicated to the proposition

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that all musics are created equal, or as Duke Ellington put it, if it sounds good, it is good.

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And here's a good deal. Our bills are paid by this radio station, in whose state-of-the-art studio I'm...

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Well, the studio itself is state-of-the-art.

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But I'm afraid I can't say the same for the roof above it.

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As I guess I don't have to tell you, we've got a leak in the ceiling here,

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and the worst part of it is that I can't find any large pans or anything like that around,

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so I've just got a bunch of coffee cups set up on the floor.

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But of course, that means I've got to empty them every few minutes or so,

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and then I've got to wipe up what came down while I emptied them.

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But hey, you're not a bartender, you don't have to listen to my problems.

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Today's show is called H2O, Above and Below, and we're going to start off with some instrumental evocations of rain.

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So how do you evoke rain musically?

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Well, you... you know...

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Actually, it's sort of handy having this leak in the studio right now,

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because we've got the real thing being demonstrated water-wise.

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Listen to those drips.

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They're short, they're fairly high-pitched.

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I mean, they're not bass notes.

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I guess rain falling on an empty oil drum might give you bass notes,

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but rain usually falls on non-resonant surfaces like ground or pavement,

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in which case it simply splats, or on water, which gives you fairly high-pitched sounds.

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So a composer is likely to use high-percussion instruments,

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like xylophone or glockenspiel or piano,

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or plucked instruments, such as harp or guitar or violin played pizzicato.

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I don't think you'll find a lot of composers using the tuba to evoke rain.

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Here are some nice raindrops.

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¦

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That's the beginning of the rain in Neue Flöte by Benjamin Britten.

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Piano and xylophone there.

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And then there's the element of repetition,

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and of course real rain, that is, external rain,

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as opposed to rain that has been filtered through the roof of this building,

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has an awful lot of drops, so there's a sort of a continuous tumbling effect.

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Now, as you'd expect, composers vary greatly in how literal they try to be,

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as we will hear in our first suite.

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It's called instrumental rain, and it's got three numbers.

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You know, this dripping is beginning to get to me.

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I'm going to see if I can find a rag or something like that

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to stuff in that hole in the ceiling.

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I'll see you in about ten and a half minutes.

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Instrumental Rain.

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Began with a selection from Claude Debussy's

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six epigraphes antiques.

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I guess you should say six epigraphes antiques

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or six antique epigraphes.

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The last one, Pour remercier la pluie au matin,

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which means for thanking the morning rain.

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These were inspired by poems by Pierre-Louis.

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This poem includes the lines,

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¦ And I write these lines on the sand in the morning rain.

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¦ The leaves are heavy with the shiny water.

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¦ The rain, drop by drop, is making holes in my song.

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¦ I am so sad and alone.

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That was performed, that's for piano four hands,

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performed by the duo Chromalink.

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And then we had a selection from an album

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called Good Time Ticket.

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That was the Lennon-McCartney song Rain.

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This was an album arranged by the host of Chick-fil-A Mix.

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Half original tunes and half more famous composers

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like Bob Dylan and Lennon-McCartney.

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Then finally we had a piece by a very little-known now composer,

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an American composer named Emerson Whithorn.

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He was born in 1888 and died in 1958.

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This is a piece called The Rain, Op. 12.

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It was written, it's obviously quite Debussy-esque in some ways.

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It was written in 1916.

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That was played by John Kozar.

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As you can tell, I managed to plug up that hole in the ceiling.

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I couldn't find any rags, but it's pretty warm in here.

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I don't really need an undershirt.

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Clothes may make the man, but even without an undershirt,

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I'm still Peter Shickley.

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The name of the program is Chick-fil-A Mix,

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from PRI, Public Radio International.

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H20 above and below.

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We're still on the above part talking about Rain.

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Our first suite was instrumental Rain.

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The next is vocal Rain,

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whose four songs last about 9 1⁄2 minutes

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and are in three different languages.

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The first and third are in English.

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The second, in translation, goes,

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There is weeping in my heart like the rain on the town.

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What is this languor which permeates my heart?

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O soft sound of rain on ground and on roofs!

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For a lonely heart, O the song of the rain!

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There is crying without reason in this heart which is breaking.

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What? No betrayal?

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This mourning is without reason.

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Indeed the worst pain is knowing not why,

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Without love or hate, my heart feels such pain.

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And the last song, in translation, goes,

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Take the rain away from this place now.

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Old man, wind, take away the rain.

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Don't let the corn die, father, son.

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Antarkyto is crying.

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We have too many children here.

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The whole place is drowning.

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Stop the rain now.

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In terms of precipitational evocation,

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these songs vary considerably.

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The fourth one that I just read the translation for

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makes no attempt to imitate rain musically.

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Why should it? It's praying for less, not more.

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The middle two songs do evoke rain gently in their accompaniments,

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whereas the first song,

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well, the first song takes a more direct approach.

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Oh, raindrops, so many raindrops.

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It feels like raindrops falling from my eyes.

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Falling from my eyes.

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Since my love has left me, I'm so all alone.

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I would bring her back to me,

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but I don't know where she's gone.

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I don't know where she's gone.

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There must be a cloud in my head.

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Rain keeps falling from my eyes.

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Oh, no, it can't be teardrops,

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for a man ain't supposed to cry.

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So it must be raindrops,

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so many raindrops.

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It feels like raindrops falling from my eyes.

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Falling from my eyes.

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There must be a cloud in my head.

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Rain keeps falling from my eyes.

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Oh, no, it can't be teardrops,

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for a man ain't supposed to cry.

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So it must be raindrops,

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so many raindrops.

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It feels like raindrops falling from my eyes.

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Falling from my eyes.

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It keeps on falling.

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Falling from my eyes.

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It keeps on falling from my eyes.

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It keeps on falling from my eyes.

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Il pleut dans mon coeur comme il pleut sur la ville.

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Et c'est de l'enfer qui pénètre mon coeur.

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Au bruit d'eau de la pluie par terre et sur les toits,

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il pleure un coeur qui s'enlève.

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Où le chant de la pluie,

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il pleure sans raison dans mon coeur qui s'éclate.

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Une trahison d'endeuil sans raison.

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C'est bien d'apprendre, père,

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qu'il est savoir pourquoi son amour lui s'arrête.

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Mon coeur attend du rêve.

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Il pleut dans mon coeur comme il pleut sur la ville.

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Et c'est de l'enfer qui pénètre mon coeur.

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Au bruit d'eau de la pluie par terre et sur les toits,

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il pleure un coeur qui s'enlève.

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Il pleure sans raison dans mon coeur qui s'éclate.

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Une conversation sitting in the hay. Honey, how long was I laughing in the rain?

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We were gone till a thunder brought us two.

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You and me underneath a roof of tin.

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Pretty comfy feeling how the rain ain't beginning.

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We can sit and dry just as long as it can pour.

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Cause the way it makes you look makes me hope it rains some more.

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You and me in rain on the roof. Caught up in a summer shower.

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Drying while it soaks the flowers.

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Maybe we'll be caught for hours waiting out the sun.

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We can sit and dry just as long as it can pour.

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Maybe we'll be caught for hours waiting out the sun.

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We can sit and dry just as long as it can pour.

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We can sit and dry just as long as it can pour.

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We can sit and dry just as long as it can pour.

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We can sit and dry just as long as it can pour.

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Vocal rain.

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We began with raindrops by D. Clark.

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Really nice cut.

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And then we had a Fauré song.

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Beautifully sung by Carol Bogard.

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Accompanied by John Moriarty.

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And that's the song Il pleut dans mon coeur.

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Which Debussy also set.

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And it was apparently Fauré himself who gave it the title Spleen.

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Which is the title of another Fairland poem.

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Don't get me started.

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Then the third one was of course You and me in rain on the roof.

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John Sebastian's song from the Hums of the Lovin' Spoonful album.

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And then finally that beautiful Bolivian song.

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It's from a Libana album.

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And this is from a medley of Quechua songs.

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I'm not sure if I'm saying that right.

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Watay kuyasnin.

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And that's an album called Sojourns.

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Beautiful, beautiful album.

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Two of those songs make the inevitable comparison

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between raindrops and teardrops.

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One could do a whole program of such songs.

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But one won't.

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It's not that...

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Great.

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The undershirt fell down.

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Oh brother, what a mess.

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Well, there's nothing I can do about it now.

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Except get these coffee cups back in place.

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Anyway, what I was about to say was about poetry.

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About using rain as a metaphor for tears.

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And poetry reminded me of a poem from my youth.

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I can't remember where I learned it or who wrote it.

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It goes,

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The rain, it raineth on the just,

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And on the unjust fella,

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But mostly on the just,

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Because the unjust stole the just's umbrella.

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Who wrote that, anyway?

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I know it wasn't John Donne.

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Well, it doesn't really matter, I guess.

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And in any case, it's tidbit time here in the sewers of Paris.

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When I think about what this song is called,

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I hesitate to put it on.

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But I don't want to seem superstitious.

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Besides, it'll give me three minutes and nineteen seconds

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To try and plug up that hole again.

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Rainmaker, rainmaker, land is parched and dry.

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Rainmaker, rainmaker, make the rain fall from the sky.

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Rainmaker, rainmaker, crops are gonna die.

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Rainmaker, rainmaker, make the heavens cry.

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00:29:47,000 --> 00:29:52,000
When you try to make your living, making it right,

259
00:29:52,000 --> 00:29:57,000
You gotta put on a real good show, tell the people anything.

260
00:29:57,000 --> 00:30:02,000
You gotta get the Lord's attention, any old way you can.

261
00:30:02,000 --> 00:30:07,000
Maybe he'll show a little mercy and start crying for the land.

262
00:30:07,000 --> 00:30:12,000
Rainmaker, rainmaker, land is parched and dry.

263
00:30:12,000 --> 00:30:17,000
Rainmaker, rainmaker, make the rain fall from the sky.

264
00:30:17,000 --> 00:30:22,000
Rainmaker, rainmaker, crops are gonna die.

265
00:30:22,000 --> 00:30:28,000
Rainmaker, rainmaker, make the heavens cry.

266
00:30:28,000 --> 00:30:33,000
Some say I work miracles, some say I'm just insane.

267
00:30:33,000 --> 00:30:38,000
Many a time I bet my life I could make it rain.

268
00:30:38,000 --> 00:30:43,000
One time I had a whole town beating drums and singing through the night.

269
00:30:43,000 --> 00:30:48,000
And would watch the morning sun come up without a rain cloud in sight.

270
00:30:48,000 --> 00:30:53,000
I knew if I didn't make some weather and see them storm clouds gather,

271
00:30:53,000 --> 00:30:58,000
I'd be run out of town when the sun went down, covered up with tar and feather.

272
00:30:58,000 --> 00:31:03,000
Well I was on my knees and I raised my hands to the heavens high.

273
00:31:03,000 --> 00:31:08,000
Felt the rain like a sigh of relief would come a-pouring from the sky.

274
00:31:08,000 --> 00:31:13,000
Rainmaker, rainmaker, land is parched and dry.

275
00:31:13,000 --> 00:31:18,000
Rainmaker, rainmaker, make the rain fall from the sky.

276
00:31:18,000 --> 00:31:23,000
Rainmaker, rainmaker, crops are gonna die.

277
00:31:23,000 --> 00:31:29,000
Rainmaker, rainmaker, make the heavens cry.

278
00:31:29,000 --> 00:31:39,000
Let the good rain fall now.

279
00:31:39,000 --> 00:31:51,000
Let the good rain fall now.

280
00:31:51,000 --> 00:31:56,000
Sometimes I don't know if it's a blessing or a curse.

281
00:31:56,000 --> 00:32:00,000
Too little rain's just not enough. Too much just make things worse.

282
00:32:00,000 --> 00:32:05,000
Well the good Lord promised me a miracle in this life with only one condition.

283
00:32:05,000 --> 00:32:10,000
He said, take your money, get out of town, and don't try and start another religion.

284
00:32:10,000 --> 00:32:16,000
Rainmaker, rainmaker, land is parched and dry.

285
00:32:16,000 --> 00:32:21,000
Rainmaker, rainmaker, make the rain fall from the sky.

286
00:32:21,000 --> 00:32:27,000
Rainmaker, rainmaker, crops are gonna die.

287
00:32:27,000 --> 00:32:33,000
Rainmaker, rainmaker, make the heavens cry.

288
00:32:33,000 --> 00:32:41,000
Rainmaker, rainmaker, rainmaker.

289
00:32:41,000 --> 00:32:43,000
Rainmaker.

290
00:32:43,000 --> 00:32:46,000
I'll bet you had figured out that that was the name of that song.

291
00:32:46,000 --> 00:32:51,000
It's performed by Ed Norman, John Newland, and Mona Scheibler,

292
00:32:51,000 --> 00:32:55,000
who are members of a group called the Solstice Assembly.

293
00:32:55,000 --> 00:33:00,000
The album is called Under the Drawbridge. Nice eclectic bunch of stuff.

294
00:33:00,000 --> 00:33:06,000
And once again, we are dripless here in our state-of-the-art studio.

295
00:33:06,000 --> 00:33:10,000
I guess if I can get along without an undershirt, I can get along without underpants too.

296
00:33:10,000 --> 00:33:14,000
I just hope it holds this time because that's as far as I'm going.

297
00:33:14,000 --> 00:33:18,000
Hi, I'm Peter Schickele, star of Peter and the Underwear Wolf,

298
00:33:18,000 --> 00:33:26,000
and the program is called Schickele Mix from PRI, Public Radio International.

299
00:33:26,000 --> 00:33:30,000
Okay, let's move from the H2O above to the H2O below,

300
00:33:30,000 --> 00:33:34,000
and consider in song the water in the ground.

301
00:33:34,000 --> 00:33:39,000
I call this next suite the Hope for Springs is Eternal song cycle.

302
00:33:39,000 --> 00:33:43,000
It's got three numbers, the middle of which is in German.

303
00:33:43,000 --> 00:33:49,000
The translation of that song reads, just a second here.

304
00:33:49,000 --> 00:33:54,000
You little green o'ergrown spring, where recently I Daphne saw,

305
00:33:54,000 --> 00:34:00,000
your water was so still and clear, and Daphne's picture in it so fair.

306
00:34:00,000 --> 00:34:04,000
If she again comes to your bank, then capture her fair image fast,

307
00:34:04,000 --> 00:34:10,000
then furtively I'll sneak with moist glances to tell her image of my woe.

308
00:34:10,000 --> 00:34:16,000
Once I am close, face to face, then nothing, alas, nothing can I say.

309
00:34:16,000 --> 00:34:21,000
So this guy obviously isn't interested in water, qua water at all.

310
00:34:21,000 --> 00:34:25,000
He just wants a reflection of his heartthrob that he can talk to,

311
00:34:25,000 --> 00:34:30,000
because when he tries to talk to her in person, he goes all marshmallow.

312
00:34:30,000 --> 00:34:35,000
The first and third songs share more than a common language, which is English.

313
00:34:35,000 --> 00:34:39,000
They share a lot of things due to the fact that they're the same song.

314
00:34:39,000 --> 00:34:43,000
Or are they? Be back in about ten minutes.

315
00:34:43,000 --> 00:34:59,000
All day I faced a barren waste without the taste of water, cool water.

316
00:34:59,000 --> 00:35:15,000
Oh, Dan and I with throats burnt dry and souls that cry for water, cool, clear water.

317
00:35:15,000 --> 00:35:18,000
Keep a-movin', Dan, don't you listen to him, Dan.

318
00:35:18,000 --> 00:35:24,000
He's the devil, not a man, and he spread the burning sand with water.

319
00:35:24,000 --> 00:35:29,000
Dan, can you see that big green tree where the water's runnin' free

320
00:35:29,000 --> 00:35:34,000
and it's waitin' there for me and you?

321
00:35:34,000 --> 00:35:44,000
The nights are cool and I'm a fool, each star's a pool of water, cool water.

322
00:35:44,000 --> 00:36:00,000
But with the dawn I'll wake and yawn and carry on to water, cool, clear water.

323
00:36:00,000 --> 00:36:03,000
Keep a-movin', Dan, don't you listen to him, Dan.

324
00:36:03,000 --> 00:36:09,000
He's the devil, not a man, and he spread the burning sand with water.

325
00:36:09,000 --> 00:36:14,000
Dan, can you see that big green tree where the water's runnin' free

326
00:36:14,000 --> 00:36:19,000
and it's waitin' there for me and you?

327
00:36:19,000 --> 00:36:29,000
The shadows sway and seem to say, tonight we pray for water, cool water.

328
00:36:29,000 --> 00:36:45,000
And way up there he'll hear our prayer and show us where there's water, cool, clear water.

329
00:36:45,000 --> 00:36:48,000
Keep a-movin', Dan, don't you listen to him, Dan.

330
00:36:48,000 --> 00:36:54,000
He's the devil, not a man, and he spread the burning sand with water.

331
00:36:54,000 --> 00:36:59,000
Dan, can you see that big green tree where the water's runnin' free

332
00:36:59,000 --> 00:37:03,000
and it's waitin' there for me and you?

333
00:37:03,000 --> 00:37:14,000
Dan's feet are sore, he's yearnin' for just one thing more than water, cool water.

334
00:37:14,000 --> 00:37:35,000
Like me, I guess he'd like to rest where there's no quest for water, cool, clear water, cool, clear water.

335
00:37:45,000 --> 00:37:57,000
Du kleine, grünen, wachsen Källe, An den ich da verjüngst gesehen,

336
00:37:57,000 --> 00:38:09,000
Dein Wasser war so still und helle, Und dachten es wild darin,

337
00:38:09,000 --> 00:38:25,000
Und dachten es wild darin, so schön, Und dachten es wild so schön.

338
00:38:25,000 --> 00:38:34,000
Oh, wenn sie sich noch mal am Ufer sehen lässt, So haltet du ihr schönes Bild doch fest,

339
00:38:34,000 --> 00:38:47,000
Ich gleiche heimlich dann mit nassen Augen hin, Die Wild' meine Not zu klagen.

340
00:38:47,000 --> 00:38:58,000
Denn wenn ich bei dir selber bin, Dann, ach, dann kann ich ihr nichts sagen.

341
00:38:58,000 --> 00:39:10,000
Denn wenn ich bei dir selber bin, Dann, ach, dann kann ich ihr nichts sagen.

342
00:39:58,000 --> 00:40:27,000
All day I have faced the barren wasteland Without a taste of water,

343
00:40:27,000 --> 00:40:35,000
cool water.

344
00:40:35,000 --> 00:40:47,000
Oh, then our throats lay dry, Our spirits cry out for water,

345
00:40:47,000 --> 00:40:59,000
cool, clear water, cool, clear water.

346
00:40:59,000 --> 00:41:23,000
We parted then, some devils had a plan, Very poisonous and sad, no, don't get me wrong, It's in the water, cool, clear water.

347
00:41:23,000 --> 00:41:31,000
In my mind I see a big green tree, And a river flowing free,

348
00:41:31,000 --> 00:41:52,000
Waiting up ahead for you and me, Water, cool, clear water.

349
00:41:52,000 --> 00:42:04,000
The nights are cool and I'm a fool, Each star's a pool of water,

350
00:42:04,000 --> 00:42:12,000
pool of water.

351
00:42:12,000 --> 00:42:26,000
Come the dawn, we carry on, We won't last long without water,

352
00:42:26,000 --> 00:42:35,000
cool, clear water.

353
00:42:35,000 --> 00:42:49,000
Keep on moving, we're still in no man's land, Dry bones and sand, people never plan here for water,

354
00:42:49,000 --> 00:42:59,000
cool, clear water.

355
00:42:59,000 --> 00:43:06,000
In my mind I see a big green tree, And a river flowing free,

356
00:43:06,000 --> 00:43:27,000
Waiting up ahead for you and me, Water, cool, clear water.

357
00:43:27,000 --> 00:43:39,000
The shadows wake, the sea sleep, Tonight we pray for water,

358
00:43:39,000 --> 00:43:47,000
water.

359
00:43:47,000 --> 00:43:58,000
Stand way up, if you can, Please show us where there's good water,

360
00:43:58,000 --> 00:44:01,000
water.

361
00:44:01,000 --> 00:44:19,000
Cool, clear water.

362
00:44:19,000 --> 00:44:29,000
Cool, clear water.

363
00:44:29,000 --> 00:44:39,000
Cool, clear water.

364
00:44:39,000 --> 00:44:45,000
Cool, clear water.

365
00:44:45,000 --> 00:44:50,000
The Hope for Springs is Eternal song cycle.

366
00:44:50,000 --> 00:44:57,000
Began with the Sons of the Pioneers singing Cool Water, one of their big classics.

367
00:44:57,000 --> 00:45:04,000
Then we had a short Schubert song, An Eine Quelle, which is translated here to a source.

368
00:45:04,000 --> 00:45:09,000
I think a more modern English translation would be to a spring.

369
00:45:09,000 --> 00:45:14,000
That was Dietrich Fischer-Diskau, accompanied by Gerald Moore.

370
00:45:14,000 --> 00:45:21,000
And then finally, Joni Mitchell, from the album Chalk Mark and a Rainstorm, doing Cool Water.

371
00:45:21,000 --> 00:45:28,000
And what I meant, of course, by is it the same song, is that she has revised some of the lyrics.

372
00:45:28,000 --> 00:45:32,000
In her version, some of the lyrics go, Keep on moving, Dan,

373
00:45:32,000 --> 00:45:35,000
Some devil's had a plan, Buried poison in the sand,

374
00:45:35,000 --> 00:45:38,000
Don't drink it, man, It's in the water,

375
00:45:38,000 --> 00:45:40,000
Cool, clear water.

376
00:45:40,000 --> 00:45:43,000
But come the dawn, we carry on, We won't last long without water,

377
00:45:43,000 --> 00:45:45,000
Cool, clear water.

378
00:45:45,000 --> 00:45:48,000
Keep moving on, Dan, We're still in no man's land,

379
00:45:48,000 --> 00:45:52,000
Dry bones and sand, People never planned here for water,

380
00:45:52,000 --> 00:45:54,000
Cool, clear water.

381
00:45:54,000 --> 00:45:57,000
And it ends, And way up there, if you care,

382
00:45:57,000 --> 00:46:00,000
Please show us where there's good water,

383
00:46:00,000 --> 00:46:03,000
Cool, clear water.

384
00:46:03,000 --> 00:46:07,000
It also has some different chords from the original version.

385
00:46:07,000 --> 00:46:10,000
It's an extremely different version, very effective.

386
00:46:10,000 --> 00:46:14,000
You know, until I played this thing now, both these versions,

387
00:46:14,000 --> 00:46:17,000
I always thought this song was called Cool, Clear Water,

388
00:46:17,000 --> 00:46:19,000
even though that's part of the refrain.

389
00:46:19,000 --> 00:46:21,000
It's actually called Cool Water.

390
00:46:21,000 --> 00:46:23,000
The reason this makes a difference to me

391
00:46:23,000 --> 00:46:26,000
is that I once wrote a piece for Walter Trampler,

392
00:46:26,000 --> 00:46:28,000
a fine violist.

393
00:46:28,000 --> 00:46:31,000
It was a jazz piece for, or a jazzy piece,

394
00:46:31,000 --> 00:46:34,000
for Viola di Mori and a few other instruments,

395
00:46:34,000 --> 00:46:36,000
and I called the piece Cool, Clear Walter.

396
00:46:36,000 --> 00:46:39,000
So now I've got to wonder, should I go back

397
00:46:39,000 --> 00:46:42,000
and change the name of that piece to Cool Walter?

398
00:46:42,000 --> 00:46:44,000
I have to think about that one.

399
00:46:44,000 --> 00:46:47,000
Well, we've dealt with water in all sorts of ways here.

400
00:46:47,000 --> 00:46:49,000
We've heard rain imitated.

401
00:46:49,000 --> 00:46:52,000
We've heard about rain we want and rain we don't want.

402
00:46:52,000 --> 00:46:54,000
We've heard about water as a mirror

403
00:46:54,000 --> 00:46:56,000
and what's happening to our groundwater

404
00:46:56,000 --> 00:46:58,000
and where the devil fits in.

405
00:46:58,000 --> 00:47:02,000
Let's hear a song that treats water completely metaphorically.

406
00:47:02,000 --> 00:47:04,000
This is from a film in which the man

407
00:47:04,000 --> 00:47:06,000
has been getting the cold shoulder

408
00:47:06,000 --> 00:47:08,000
from the woman all along.

409
00:47:08,000 --> 00:47:11,000
At one point, they get caught in a thunderstorm,

410
00:47:11,000 --> 00:47:13,000
and while they stand there getting soaked,

411
00:47:13,000 --> 00:47:15,000
the man, played by Leonard Sly,

412
00:47:15,000 --> 00:47:17,000
who also wrote the song, by the way,

413
00:47:17,000 --> 00:47:19,000
serenades the woman thusly.

414
00:47:19,000 --> 00:47:27,000
¦

415
00:47:27,000 --> 00:47:29,000
¦ There's a girl in this world

416
00:47:29,000 --> 00:47:31,000
¦ That is singing the blues

417
00:47:31,000 --> 00:47:33,000
¦ She's upset, cold and wet

418
00:47:33,000 --> 00:47:35,000
¦ From her head to her shoes

419
00:47:35,000 --> 00:47:37,000
¦ She was sweet, very sweet

420
00:47:37,000 --> 00:47:39,000
¦ And she couldn't be beat

421
00:47:39,000 --> 00:47:42,000
¦ But she's all wet now

422
00:47:42,000 --> 00:47:44,000
¦ I can see, plainly see

423
00:47:44,000 --> 00:47:46,000
¦ That she's thinking of me

424
00:47:46,000 --> 00:47:48,000
¦ If she tried to get dry

425
00:47:48,000 --> 00:47:50,000
¦ Oh, how happy we'd be

426
00:47:50,000 --> 00:47:52,000
¦ She was such a pretty girl

427
00:47:52,000 --> 00:47:54,000
¦ When her hair was in a curl

428
00:47:54,000 --> 00:47:57,000
¦ But she's all wet now

429
00:47:57,000 --> 00:47:59,000
¦ When she was just a little tot

430
00:47:59,000 --> 00:48:01,000
¦ Said mother to her daughter

431
00:48:01,000 --> 00:48:03,000
¦ I want you to learn to swim

432
00:48:03,000 --> 00:48:05,000
¦ But don't go near the water

433
00:48:05,000 --> 00:48:07,000
¦ So she disobeyed her ma

434
00:48:07,000 --> 00:48:09,000
¦ Went near it anyhow

435
00:48:09,000 --> 00:48:11,000
¦ She got all wet and you can bet

436
00:48:11,000 --> 00:48:13,000
¦ She's paying for it now

437
00:48:13,000 --> 00:48:15,000
¦ She keeps walking the floor

438
00:48:15,000 --> 00:48:17,000
¦ And the time's passing by

439
00:48:17,000 --> 00:48:19,000
¦ She's as wet as can be

440
00:48:19,000 --> 00:48:21,000
¦ And ready to cry

441
00:48:21,000 --> 00:48:23,000
¦ She had a girlie's charm

442
00:48:23,000 --> 00:48:25,000
¦ When she was dry and warm

443
00:48:25,000 --> 00:48:28,000
¦ But she's all wet now

444
00:48:28,000 --> 00:48:39,000
¦ A-li-o-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti-lu-ti

445
00:48:39,000 --> 00:48:41,000
¦ There's a girl in this world

446
00:48:41,000 --> 00:48:43,000
¦ That is singing the blues

447
00:48:43,000 --> 00:48:45,000
¦ She's upset, cold and wet

448
00:48:45,000 --> 00:48:47,000
¦ From her head to her shoes

449
00:48:47,000 --> 00:48:49,000
¦ She was sweet, very sweet

450
00:48:49,000 --> 00:48:51,000
¦ And she couldn't be beat

451
00:48:51,000 --> 00:48:54,000
¦ But she's all wet now

452
00:48:54,000 --> 00:48:56,000
¦ I can see, plainly see

453
00:48:56,000 --> 00:48:58,000
¦ That she's thinking of me

454
00:48:58,000 --> 00:49:00,000
¦ If she tried to get dry

455
00:49:00,000 --> 00:49:02,000
¦ Oh, how happy we'd be

456
00:49:02,000 --> 00:49:04,000
¦ She was such a pretty girl

457
00:49:04,000 --> 00:49:06,000
¦ When her hair was in a curl

458
00:49:06,000 --> 00:49:08,000
¦ But she's all wet now

459
00:49:08,000 --> 00:49:10,000
¦ When she was just a little tot

460
00:49:10,000 --> 00:49:12,000
¦ Said mother to her daughter

461
00:49:12,000 --> 00:49:14,000
¦ I want you to learn to swim

462
00:49:14,000 --> 00:49:16,000
¦ But don't go near the water

463
00:49:16,000 --> 00:49:18,000
¦ So she disobeyed her ma

464
00:49:18,000 --> 00:49:20,000
¦ Went near it anyhow

465
00:49:20,000 --> 00:49:22,000
¦ She got all wet and you can bet

466
00:49:22,000 --> 00:49:24,000
¦ She's paying for it now

467
00:49:24,000 --> 00:49:26,000
¦ She keeps walking the floor

468
00:49:26,000 --> 00:49:28,000
¦ And the time's passing by

469
00:49:28,000 --> 00:49:30,000
¦ She's as wet as can be

470
00:49:30,000 --> 00:49:32,000
¦ And ready to cry

471
00:49:32,000 --> 00:49:34,000
¦ She had a girly charm

472
00:49:34,000 --> 00:49:36,000
¦ When she was dry and warm

473
00:49:36,000 --> 00:49:38,240
¦ But she's all wet now

474
00:49:38,240 --> 00:49:46,000
¦ Aliololololotie

475
00:49:46,000 --> 00:49:54,000
¦ Aliolololotie

476
00:49:54,000 --> 00:49:58,000
¦ Aliolololotie

477
00:49:58,000 --> 00:50:00,000
Leonard Sly, who by this time

478
00:50:00,000 --> 00:50:04,000
had changed his name to Roy Rogers,

479
00:50:04,000 --> 00:50:10,680
singing She's All Wet Now, a song he wrote for the movie Southward Ho, Brother of Dawn.

480
00:50:10,680 --> 00:50:16,060
We have a little time left here, so I'm going to throw one more tune in here.

481
00:50:16,060 --> 00:50:20,040
This is a tune that just goes to show that it can have a name that has to do with rain

482
00:50:20,040 --> 00:50:25,040
that doesn't have anything to do with rain whatsoever in terms of evocation of rain.

483
00:50:25,040 --> 00:50:29,320
As a matter of fact, I get a big kick out of this because this is a Billy Strayhorn

484
00:50:29,320 --> 00:50:30,320
tune.

485
00:50:30,320 --> 00:50:32,600
This is Duke Ellington and his famous orchestra.

486
00:50:32,600 --> 00:50:35,280
The tune is called Rain Check.

487
00:50:35,280 --> 00:50:39,140
Composers often get asked by interviewers, what did you mean by this piece or what did

488
00:50:39,140 --> 00:50:41,800
you have in mind in writing this piece?

489
00:50:41,800 --> 00:50:45,240
Mostly composers have music in their mind when they write pieces.

490
00:50:45,240 --> 00:50:50,880
Apparently, somebody, that somebody being Stanley Dance, was interviewing Strayhorn

491
00:50:50,880 --> 00:50:53,480
and he asked Strayhorn about Rain Check.

492
00:50:53,480 --> 00:50:56,320
Here's Strayhorn's answer.

493
00:50:56,320 --> 00:50:59,760
That was about rain, about being in California.

494
00:50:59,760 --> 00:51:04,920
I was sitting at home in Los Angeles and writing.

495
00:51:04,920 --> 00:51:05,920
Thanks a lot, Billy.

496
00:51:05,920 --> 00:51:08,560
That really clears a lot of things up.

497
00:51:08,560 --> 00:51:09,560
Here it is.

498
00:51:09,560 --> 00:51:39,460
This

499
00:51:39,460 --> 00:51:49,460
♪

500
00:51:49,460 --> 00:51:59,460
♪

501
00:51:59,460 --> 00:52:09,460
♪

502
00:52:09,460 --> 00:52:19,460
♪

503
00:52:19,460 --> 00:52:29,460
♪

504
00:52:29,460 --> 00:52:39,460
♪

505
00:52:39,460 --> 00:52:49,460
♪

506
00:52:49,460 --> 00:52:59,460
♪

507
00:52:59,460 --> 00:53:09,460
♪

508
00:53:09,460 --> 00:53:19,460
♪

509
00:53:19,460 --> 00:53:29,460
♪

510
00:53:29,460 --> 00:53:37,460
♪

511
00:53:37,460 --> 00:53:40,460
Rain Check by Billy Strayhorn.

512
00:53:40,460 --> 00:53:44,460
That was Duke Ellington and his famous orchestra,

513
00:53:44,460 --> 00:53:47,460
recording from 1941.

514
00:53:47,460 --> 00:53:50,460
Well, our time is about up.

515
00:53:50,460 --> 00:53:52,460
Sorry for the difficulties today, folks,

516
00:53:52,460 --> 00:53:56,460
but at least that second time I plugged up the hole in the ceiling, it held,

517
00:53:56,460 --> 00:54:01,460
so we had a fairly uninterrupted show.

518
00:54:01,460 --> 00:54:05,460
Uh, of course, actually,

519
00:54:05,460 --> 00:54:08,460
if there was water dripping out of that hole in the ceiling,

520
00:54:08,460 --> 00:54:10,460
and I plugged the hole up,

521
00:54:10,460 --> 00:54:16,460
it means that the water has been collecting.

522
00:54:16,460 --> 00:54:19,460
Oh, man.

523
00:54:19,460 --> 00:54:32,460
♪

524
00:54:32,460 --> 00:54:36,460
And that's yet another sickly mix down the drain.

525
00:54:36,460 --> 00:54:41,460
Our program is made possible with funds provided by this radio station and its members.

526
00:54:41,460 --> 00:54:43,460
That's you. Thank you all.

527
00:54:43,460 --> 00:54:46,460
We'll tell you in a moment how you can get an official playlist

528
00:54:46,460 --> 00:54:49,460
of all the music on today's program with record numbers and everything.

529
00:54:49,460 --> 00:54:51,460
Just refer to the program number.

530
00:54:51,460 --> 00:54:54,460
This is program number 61.

531
00:54:54,460 --> 00:54:56,460
And this is Peter Shickley saying goodbye

532
00:54:56,460 --> 00:54:58,460
and reminding you that it don't mean a thing

533
00:54:58,460 --> 00:55:01,460
if it ain't got that certain je ne sais quoi.

534
00:55:01,460 --> 00:55:04,460
You're looking good. See you next week.

535
00:55:04,460 --> 00:55:33,460
♪

536
00:55:33,460 --> 00:55:48,460
♪

537
00:55:48,460 --> 00:56:08,460
♪

538
00:56:08,460 --> 00:56:28,460
♪

539
00:56:28,460 --> 00:56:48,460
♪

540
00:56:48,460 --> 00:57:08,460
♪

541
00:57:08,460 --> 00:57:28,460
♪

542
00:57:28,460 --> 00:57:42,460
♪

543
00:57:42,460 --> 00:57:45,460
If you'd like a copy of that playlist I mentioned,

544
00:57:45,460 --> 00:57:48,460
send a stamped self-addressed envelope to Sickly Mix.

545
00:57:48,460 --> 00:57:53,460
That's S-C-H-I-C-K-E-L-E, Sickly Mix.

546
00:57:53,460 --> 00:57:58,460
Care of Public Radio International, 100 North 6th Street, Suite 900A,

547
00:57:58,460 --> 00:58:03,460
Minneapolis, Minnesota, 55403.

548
00:58:03,460 --> 00:58:23,460
P-R-I, Public Radio International.