HE'S BREAKABLE

The musical score of the film Great Expectations is spectacular, particularly Mono’s cut three, “Life in Mono,” a sultry song that talks about someone else’s dream and evokes a vision of strong romance, and “Breakable,” which speaks to every person’s vulnerability to be broken.

The entire musical score made the film pump, as on any occasion do the voices of Andrea Bocelli, Sarah Brightman, Luciano Pavarotti, Carrie Underwood, Michael Bolton, Johnny Cash, Jerry Curry, Waylon Jennings, Josh Groban, George Harrison, Elton John, Billy Joel, Paul McCartney, Olivia Newton-John  Linda Nash, Justin Timberlake, Frank Sinatra, the film scores of John Williams and Maurice Jarre. The list goes on.

Nothing soothes the heart better than great music –- piano, organ, violins, cellos, harp, banjos, flutes, guitars, harmonicas, horns, drums, and soaring voices.

One great piece from the Great Expectations score is “Siren,” performed beautifully by Tori Amos, followed by “Life in Mono”:

“The stranger sang a theme from someone else’s dream. The leaves began to fall, and no one spoke at all. But I can’t seem to recall when you came along. Ingenue. Ingenue I just don’t know what to do.

“The tree-lined avenue begins to fade from view, drowning past regrets in tea and cigarettes. But I can’t seem to forget when you came along. Ingenue. ingenue.

“I just don’t know what to do. I just don’t know what to do, Ingenue”

The song “Siren”:

“And you know you're gonna lie to you in your own way, know too well, know the chill, know she breaks my siren.

“Never was one for a prissy girl, coquette, call in for an ambulance, reach high, doesn't mean she's holy, just means she's got a cellular handy, almost brave, almost pregnant, almost in love vanilla.

“And you know you're gonna lie to you in your own way.”

Chris Cornell wrote and performs “Sunshower,” a lilting melody:

“Dark roses, fine as sand, feel your healing and your sting agan. Hear you laughing and my soul is saved. On forgotten graves you cry, crawl like ivy up my spine, through my nerves, and into my eyes, cuts like anguish, or recollection, of better days gone by, but it’s all right when you’re caught in pain and you feel the rain come down. It’s all right when you find your way. Then you see it disappear. It’s all right. Though your garden’s grey,  know all your graces.

“Someday will flower in a sweet sunshower, eyes like oceans, so far away, a feather trail to a better way, worried morning turn into days, then into worried nights, but it’s all right: All you’ll be you are today.”

Patrick Doyle’s lyrical song “Like a Friend” is one of the best and says it all about troubled relationships:

“Don’t bother saying sorry, why don’t you come in? Smoke all my cigarettes again, Everytime I get no further. How long has it been? Come on in now, wipe your feet on my dreams.

“You take up my time like some cheap magazine, when I could have been learning something. Well, you know what I mean. I’ve done this before and will do it again. C’mon and kill me baby whilst you smile like a friend, and I’ll come running just to do it again. I can’t believe it, that this is still going on. Just how stupid can one person be, just how stupid and wrong?

“You re that last drink I never should have drunk, you are the body hidden in the trunk, you are the habit I can’t seem to kick, you are my secrets on the front page every week, you are the car I never should have bought, you are the train I never should have caught. You are the cut that makes me hide my face. You are the party that makes me feel my age, like a car crash I can see but I just can’t avoid, like a plane I’ve been told I never should board, like a film that’s so bad but I’ve just got to stay ‘til the end.

“Let me tell you, it’s lucky for you that we’re friends.”

And this lyrical song performed beautifully by Fisher called “Breakable,” with lovely harmonicas:

“Do you always have to tell him everything on your mind? You know that too much honesty can be so unkind. Every time you throw him to the floor, why are you surprised to see he’s breakable?”

Her lilting voice and the harmonicas, background drums, base guitar soar.

“You always try to find what’s holding him away from you, but do you ever see your anger standing there right between you?

“And every time you throw him to the wall, why are you surprised to see he’s breakable?

“Tell the world that he’s breaking your heart. Go tell the world. Nothing’s ever your fault. Go tell them all.

“Every time you throw him to the floor, and every time you force him to the wall, why are you surprised to see he’s breakable, breakable, breakable?”

Cut Eight: “Today,” performed by Poe.

“Standing in the doorway of my life in this house, trying to find a way to get out. Looking for a sign that I should open the door. This craziness is getting me down. But today’s the day we break free, baby. Today’s the daybreak.

“Walking down the stairway to the driveway below, anything could happen, I know. Hey, when I’m six, when everybody is telling me what to do, well here’s what I already know, because today’s the day, daybreak, today’s the daybreak.

“It’s clear in my mind after all of this time what I feel, my love. There are so many times that the sun doesn’t shine, but I’m here my love, and today is the day. Maybe I should wait just a minute or two. It’s getting cold now. I feel so insecure. The future is a mistress that is so hard to please, and the past is a pebble in my shoe.”

The piano in “Lady, your roof brings me down,” is sultry and spectacular.

“Uncle John’s Band” performed by The Grateful Dead is another show-stopper.

And “Besamé Mucho” by Cesaria Evora. Yes, please.

“Besamé mucho. Que tengo miedo pederte, pederte después.”