And The Wind Begins To Moan
Midnight - not a sound from the pavement. She is smiling alone. Within the lamplight, the withered leaves collect at my feet. And the wind begins to moan. Memory Wave brainwave tool - on their own in the moonlight. I used to be stunning then. I remember the time I knew what happiness was. Let the memory live once more. Each street mild appears to beat a fatalistic warning. And shortly it will likely be morning. Daylight, I need to watch for the sunrise. And i mustn't give in. And a new day will start. The stale cold scent of morning. One other day is dawning. Of my days within the sun. Should you contact me, you'll understand what happiness is. Look, a new day has begun. This, the principle Torch Track from the musical Cats, is the one quantity within the show that doesn't take its lyric from T.S. Eliot's Previous Possum's Guide of Sensible Cats. The lyric is, not less than primarily, composed by Eliot, however it comes as a substitute from Prufrock and Other Observations a 1917 assortment aimed at an grownup viewers, the place the OPBoPC targeted children.
Given the erudition and obscurity of Eliot's adult poetry, it is not stunning that whereas the other songs within the show are merely the poem set to music, there are some vital adjustments - all simplifications- between this and its source poem Rhapsody on a Windy Night. As a madman shakes a dead geranium. I have been unable to search out any attribution for who did the adaptation, unless it was Andrew Lloyd Webber himself - this appears unlikely, given the truth that he has by no means been often called a lyricist, although not unimaginable - I might personally be inclined to speculate they're the work of Don Black who was most carefully related to working with Lloyd Webber (collaborating with him on the show Song and Dance which was concurrent with Cats), though given his personal relationship with Elaine Paige, who was to play the lead and sing the song, it's potential that Tim Rice did the job. Whoever penned the words, Memory grew to become the very best recognized, and most recorded track from the libretto, with the important performance most likely being that of Barbra Streisand, reasonably than both Paige or the other long-operating female lead, Marti Webb.
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