Bee Gees


     O solo Dominique (4x)

Take this in hand
Said he who stands
Behind the chair
And broken tableware.

          Every Christian lion hearted man will show you (2x)

     O solo Dominique (2x)

Don't walk so tall
Before you crawl
For every child
Is thinking of something wild.


     O solo Dominique (3x)


     O solo Dominique (3x)


I recall that John Lennon had wanted Tomorrow Never Knows to sound like a bunch of monks chanting. Well, Every Christian Lion Hearted Man gives you a clue what Lennon might have had in mind. I recall a line written by Gaylord Field in Spinner: “If Beatle were a language, Barry, Robin and Maurice could be advanced instructors at Berlitz.” The downside is that if the Beatles sound is so easy to reproduce by young musicians and producers and engineers that have not yet proven themselves over time in the business, that do not yet have a distinctive voice, has the Promethean fire been stolen? One of the downfalls of psychedelic music was already manifesting itself at the height of the psychedelic era: the sounds that it had taken mankind its entire existence to achieve were now easily developed and imitated.

The Brothers Gibb really came up with a surrealistic lyric for Every Christian Lion Hearted Man, and a somewhat coherent one. After some disaster in dining room, the master of the house hands the singer a staff, and tells him to set forth with faith in the one true God. Faith will lead him to other Christians who will guide his way. The master of the house has only one admonition, that he use the staff, for he has much to learn before he’ll be able to walk without it. The singer is yet a child in faith and his wild imagination can still get him into trouble. The staff will help the singer keep his balance, as will the Christians along the way. The last time the chorus comes around it is broken into several harmonious voices singing at several rhythms.

Maurice Gibb’s mellotron contributes a lot to the sound in an orchestral manner, sounding more like an orchestra of violins than a keyboard. For the third time in the album, a slow slide of flattening chords is used to suggest distortion of the senses. There has been a struggle (witness the disorder of the dining room), but there can be only one man of the house, and the son must make his own way now. This moment, similar in archetype to a father sending his son to the serve the kingdom or nation, is given a sacred tone by the Gregorian chant, as if a community of monks surrounded the occasion with blessings. This is one of the few occasions when psychedelic music reached for Gregorian chant. In the coda, the monks seem to move off to the beat of somber drum. It is a rite of passage.