Still from Adriano Celentano’s music video for “Prisencolinensinainciusol.”
You really can’t tell what a song is going to look like until you type it, and that fact itself is interesting to me. When you listen to a song, for instance, you don’t know whether its “stanzas” are in quatrains or tercets or what. The stanzas and line breaks you install when you type the lyrics simply were not there before you typed them. They were not in your head, and they were not really in the song either.
You discover all kinds of things. For example, I recently typed up the words to Cream’s “White Room” (1968). Before doing that, I didn’t know that the song does not rhyme. If someone had asked me if it rhymed, I would’ve had to sing it to find out. It somehow seems like it rhymes? But how is that possible.
I go around telling people that 99 percent of songs rhyme. Is that true? It might not be. Maybe songs all seem like they rhyme, but when you actually check … ?
Rick James’s “Super Freak” (1981) has just a little dab of semi-rhyme (freak | magazines | meet; and, of course, ménage à trois | oo-la-la!). But mostly it does not rhyme. Why did I not notice this before typing out the lyrics? (Again, I want to say the song “seems” like it rhymes. It appears that the thing I call the rhyme effect does not actually require rhyme.)
It is pleasant, sometimes, to transcribe songs simply for the sake of the difficulty. I recently got down all the words to Willi One Blood’s “Whiney Whiney,” from the sound track to Dumb and Dumber (1994). You wouldn’t know the song from the movie; you have to have the sound track. So nobody knows what I’m talking about.
The song doesn’t seem to admit of transcription, because it has all these machine-gun bursts of superheated, fake-Caribbean spangablasm. Even so, I think I got it. I submitted my version of the lyrics to some lyrics-finder website and, following peer review, I got a personal e-mail informing me that my work was accepted. Click on the hyperlink above and check the comment thread.
My masterpiece, however, is my Anglophone transcript of “Prisencolinensinainciusol.” It took hours to make, and it really is a useful piece of work. The song, cooked up by Adriano Celentano in 1972, is composed entirely of words that belong to no language at all, but which sounded to Celentano like English as it was sung in the American dance music of the period. Heavy dance music. And he was not wrong; the song does sound like English. And, more importantly, it’s a good song. One chord, no content.
Check it out for yourself. Click on the link above, and sing along …
[recitative] Preezen-collin-ensinine-choozol You de kohl mayn saywum preezen-collin-ensinine-choozol all right [music starts] We d’same t’choose now hole beel d’same in a hole-rate maybe is de cuddle balls die Trrrrrrrrrr! chanz de my b’gee-d’kohlbaby sustay yeah been jo whoa We d’same t’choose now whole beel d’same in a hole-rate maybe is de cuddle balls die Whether s’sane aintchu de coffee steen you never truvva nuvva jerseyguhl baby j’jam You de comin’ up choose no bife f’not soul hobo-hobo dis gettin’ louda kubba no time Oh but divisistan lie d’shoes d’gubbaman you because tribimaht call dovráy d’girls Oh sanday … Ay ay zmai sezlin anyghels so gowin beezo eyes You de kohl mayn saywum preezen-collin-ensinine-choozol all right [metallic female voice:] Ay ay zmine senflint anygoals so gowin beezo eyes Preezen-collin-ensinine-choozolall right Well I s’no schemin’ aina given the sin t’line t’choozin-oava-jove ho hadda good time like faze t’go We d’sen in d’sen in d’shoes to gobbo ben is d’two wullaguys they love a flow well de guy just ate Ay ay smai chenslet anyhills so gowin beezo eyes You d’collin may de saywum preezen-collin-ensinine-choozol all right You doice y’know billy zeekee hollomun dohl es baby d’lie s’like bikme ohl Ay ay zmai senflen anyghesso gowin beezo eyes You de kohl mayn d’saywum preezen-collin-ensinine-choozol all right You doice y’nop billy zeekee hollomun dohl es baby-de-lak s’lak blikme ohl
[recitative]
Preezen-collin-ensinine-choozol
You de kohl mayn saywum preezen-collin-ensinine-choozol all right
[music starts]
We d’same t’choose now hole beel d’same in a hole-rate maybe is de cuddle balls die
Trrrrrrrrrr! chanz de my b’gee-d’kohlbaby sustay yeah been jo whoa
We d’same t’choose now whole beel d’same in a hole-rate maybe is de cuddle balls die
Whether s’sane aintchu de coffee steen you never truvva nuvva jerseyguhl baby j’jam
You de comin’ up choose no bife f’not soul hobo-hobo dis gettin’ louda kubba no time
Oh but divisistan lie d’shoes d’gubbaman you because tribimaht call dovráy d’girls
Oh sanday …
Ay ay zmai sezlin anyghels so gowin beezo eyes
[metallic female voice:]
Ay ay zmine senflint anygoals so gowin beezo eyes
Preezen-collin-ensinine-choozolall right
Well I s’no schemin’ aina given the sin t’line t’choozin-oava-jove ho hadda good time like faze t’go
We d’sen in d’sen in d’shoes to gobbo ben is d’two wullaguys they love a flow well de guy just ate
Ay ay smai chenslet anyhills so gowin beezo eyes
You d’collin may de saywum preezen-collin-ensinine-choozol all right
You doice y’know billy zeekee hollomun dohl es baby d’lie s’like bikme ohl
Ay ay zmai senflen anyghesso gowin beezo eyes
You de kohl mayn d’saywum preezen-collin-ensinine-choozol all right
You doice y’nop billy zeekee hollomun dohl es baby-de-lak s’lak blikme ohl
Anthony Madrid lives in Chicago. His poems have appeared in Best American Poetry 2013, Boston Review, Fence, Harvard Review, Lana Turner, LIT, and Poetry. His first book is called I Am Your Slave Now Do What I Say (Canarium Books, 2012). He is a correspondent for the Daily.
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