Gold and rose,
The color of the dream I had
Not too long ago.
Misty blue and lilac too,
Never to grow old.
There you were
Under the tree I saw
Sleeping so peacefully.
In your hand a flower played,
Waiting there for me.
I had never laid eyes on you,
Not before this timeless day.
But you woke and you smiled my name
And you stole my heart away.
(Stole my heart away little girl.)
[Repeat 1st verse]
Gold and rose, the color of the dream I had
Misty blue and lilac too. (2x)
Gold and rose (3x)
[Spoken]: It's only a dream, but I'd love to tell somebody about this dream.
The sky was filled with a thousand stars,
While the sun kissed the mountains blue.
And eleven moons played across the rainbows
Above me and you.
Gold and rose, the color of the velvet walls that surrounds us.
With its contrast between soft and rough verses, One Rainy Wish seems to be a reformulation of May This Be Love from the Jimi Hendrix Experience’s first album. The words “gold and rose” and “waterfall” are similarly presented from the outset as central images, and the guitar work shares a similar glimmering fall, though the melody in One Rainy Wish is more definite. The lyrics have somewhat the same import as well, though in May This Be Love Hendrix seems to be addressing a natural force pulsing through his life, while here (as in Little Wing) he is addressing his muse, a feminine principle outside of himself. It is also worth noting that in comparison with May This Be Love, Hendrix continues with a liquid metaphor (rain / waterfall) both of which produce rainbows, an atmospheric event. Whereas the earlier work had focused on the power of passing time, Hendrix here seems to see the production of his music as a rainbow produced by the friction between time’s passage and his immortal soul.
It is also worth noting, in the comparison between May This Be Love and One Rainy Wish, that the song structure of each attempts to change beyond verse and chorus in a different manner. The earlier work introduces a short lyrical C section as a bridge that returns the rough B section to the soft A. In the latter, the song structure changes after verse and chorus, and returns to the first verse as a bridge into a C section that keeps opening the song up and away from its original form. After being caught up in particular colors (with a fascination that is only exceeded by Donovan’s work of the period), repeating a magic formula several times that seems to linger from the first verse, the song is set free to wander into a more elaborate talking piece. The “velvet walls” are most probably meant to be those of a falling night, though I also sense the possible sexual meaning here, of being set dreaming by the penetration of his muse.
The B section and break in One Rainy Wish take advantage of a carnival time signature, reminiscent of tunes from old carousel rides for children. This ¾ time signature becomes the backbone of the coda for next song under consideration, Bold as Love.