Song Instead Of A Kiss

키스대신에 노래

Alannah Myles



Song instead of a kiss

키스대신에 노래를 드려요.

Baby, this is a song instead of a kiss

그대여, 이 것이 키스대신에 드리는 노래에요.

For all of you who ache, who long

이와같은 밤을

For nights like this

열망하고 갈망하는 모든 사람들을 위해서에요.



Song instead of a touch

손길대신에 노래를 드려요.

Darlin, this is a song instead of a touch

그대여,  이 것이 손길대신에 드리는 노래에요.

To all of you who wait so long

너무 오랫동안 기다리고

And need so much

아주 많이 필요한 모든 사람들을 위해서에요.



It is for those who like to cling

애착을 갖는 사람들을 위해서요

It is to those, to those I sing

내가 노래하는 사람들에게요

Here is a song instead of a clutch, instead of a moon

달 대신에, 붙잡는 대신에 여기 노래가 있어요

Instead of a soothing touch in the afternoon

오후에 달래주는(위로하는) 손길 대신에(노래를 드려요)



It is for those who like to cling

애착을 갖는 사람들을 위해서요

It is to those, to those I sing

내가 노래하는 사람들에게요

Here is a song instead of a clutch, instead of a moon

달 대신에, 붙잡는 대신에 여기 노래가 있어요

Instead of a soothing touch in the afternoon

오후에 달래주는(위로하는) 손길 대신에(노래를 드려요)


앨러나 마일즈, 그녀의 남자 친구 로버트 플랜트와의 실연후, 자신의 작곡동료이며 친구인  낸시와 함께 작곡여행을 가서 낸시가 소개한 시인 로버트 프리스트의 시, SONG INSTEAD OF A KISS를 가사로하여만든  곡이다.





"I went on a writing vacation to Barbados with my songwriting collaborator, Nancy Simmonds.  I was spent on heartbreak from a recently failed love relationship with Robert Plant.  I went to the Crane Beach Hotel on the east side of the island where a very horny ghost was visiting my girlfriends who were vacationing with me but alas in the heartbroken state I was in, no sexy ghost was visiting me in my bed at night.  Only howling winds and torment.

After ten days of struggling to write something for my ROCKINGHORSE record, Nancy laid a poem from our Canadian poet friend, Robert Priest called SONG INSTEAD OF A KISS on my lap.  Like some great whirlwind of inspiration, I began singing the poem with the melody that exists now is a great furor for fear that it might escape me.  Nancy sped along s fast as she could; guitar in hand to compliment the melody noted that erupted as we went along to complete the song.

The record company heard a little pop demo we did for them and they thought it was a piece of shit.  David Tyson and I went forward, unbeknownced to them, I asked David to create an orchestrated symphony aria with a minute long intro.  Everyday when I arrived at his house in LA where we were doing the prepro, I walked into his playing the piece on his beautiful or Busendorfer white grand piano. I would ask him each time, “What's that? It’s gorgeous!”  He would say, “That’s your song”.  Finally, when he had created the demo, I sang it on a very depressing gray day in a little prepro studio we rented in the Valley.  We called it “short back and sides” because it was above a barbershop.  I will never forget the feelings as I sang the song overlooking the gray Santa Monica Mountains.  When it was completed, Atlantic Record’s  Ahmet Ertegun called me to say “don’t change a thing, your vocal is a hit!” I later found out that they loved it so much they sent a copy to Robert Plant to see if he would be interested in singing a duet on it with me as it reminded them of Stairway to Heaven.  I was furious, as it was my wish to have Robert  discover the song on the record upon its completion.  He was the one who told me of Atlantic’s hidden agenda."




In the fall of 1992, Rockinghorse was released and immediately spawned the haunting hit single "Song Instead of a Kiss". Alannah co-wrote the song with her friend Nanch Simmonds and Toronto poet, Robert Priest. Alannah hit the road in support of Rockinghhorse. A manic tour schedule lead to total exhaustion and a break was called for, but not before two more hit singles and a triple platinum certification in Canada.

Alannah Myles grew up splitting her time between studying to be an artist at a vocational school for graphic arts in Toronto and in the little northern town of  Buckhorn, Ontario on her family’s ranch riding horses and later competing in equestrian horse shows until she decided to make a full time career of performing.

Myles spent her commercial acting income on demo tapes in order to find a record deal until joining creative forces with songwriter Christopher Ward.  Ward  penned her now legendary Black Velvet which won Myles a Grammy for Best Rock Vocalist after producing a special on The Life Of  Elvis Presley for Canada’s Much Music.

Together with Christopher’s songs and financing and David Tyson’s production they secured Myles an eight album recording contract with Atlantic Records in New York.  After the sale of nearly eight million records worldwide of her first self-titled record, she concluded her alliance of only three records with Atlantic and signed on with Miles Copeland’s Ark 21 Records.

Alannah released her fourth record, A Rival and a Best Of  for Ark 21 before going out on her own to record.  Acting as executive producer for her own label, Revenge Records, Myles has been in the studio for the better part of a year recording her next release which includes a dance-styled remake of Black Velvet co-produced by “in-house” style producer, Veronica Ferraro in Paris, France and A Rival’s co-producer, Michael Borkosky.

With over 3 million airplays of her hit Black Velvet worldwide and many hits outside Canada, Alannah will continue touring to support her next release which will in no way disappoint her most sincere fans.



Alannah Myles
Alannah Myles was born on Christmas Day into a Canadian/Irish family, the second of five children (and the eldest girl). Her father was in broadcasting and advertising; he produced Canada's first radio show and was induced into the Canadian Broadcasting Hall Of Fame. The first music she remembers is the Gregorian-styled Latin chants she heard in church. Alannah spent half of her childhood in Toronto, the other half in Buckhorn in northern Ontario, where her family owns a ranch and where she learned to ride horses. (Years later, she wrote many of the songs for her first album in the "Black Velvet" cabin in Buckhorn.) She wrote her first song at the age of eight - "I was teasing my little sister and wrote a song called 멪gly Little Cabbage In The Garden? Vengeance has fueled my songwriting from day one!" - and continued throughout her teens, writing on her mother's classical guitar. Later, she sold her horse to buy her first Ovation guitar to play in clubs and coffee houses.

Influenced largely by fellow Canadians Joni Mitchell and Leonard Cohen (as well as such artists as Crosby, Stills, Nash & Young, Ann Peebles, Linda Ronstadt, Donovan, Mavis Staples, Aretha Franklin, Little Feat, The Pretenders and the Stones), Alannah was deterred by her parents from pursuing a musical career. So, quite naturally, she bulled right ahead with one anyway. She began performing solo gigs in Southern Ontario at the age of 18. A couple of years later, she met Christopher Ward and opened for his band; soon, they were in a band together. The group played covers of songs by Aretha Franklin, Bob Seger, and the Pretenders, while also tricking club-owners by claiming Alannah's originals were cover songs. "I'd say 멣till Got This Thing?was ZZ Top, 멛ove Is?was INXS", she laughs. "That's how I got gigs!" Songwriter/producer David Tyson joined Alannah and Christopher a couple of years later, and the group's blueprint for success was complete.

And when success finally came, it came in a big way: the bluesy "Black Velvet", a song suggesting the life and times of Elvis Presley, became an RIAA gold single, and the self-titled album from which it came went platinum in the U.S., double platinum in Australia, platinum in New Zealand, sold over two million copies in Europe, and went ten times platinum in Canada (a "diamond" record), ultimately selling five million units worldwide. The album and/or "Black Velvet" also won three Canadian Juno Awards, while Alannah garnered a Grammy for "Best Rock Female Vocal Performance". She toured for eighteen solid months supporting the album, opening for Robert Plant, Tina Turner and Simple Minds, among others.

"Once, I was performing in front of 120,000 people in Europe, and during 멊lack Velvet? in the heat of the moment, I stupidly decided to get up on top of a 50-foot stack of speakers. The wind was so strong up there, and I looked out over about a quarter-mile of people, and I nearly passed out", she laughs, "but I didn't, because I was concentrating on remembering the lyrics!"

Alannah's piercing emerald eyes, her natural kinetic energy, and her deep cackle of a laugh all combine to create a personality that is virtually larger than life. At times, her ferocious self-confidence has been perceived as arrogance - a perception that was unavoidably reinforced by a worldwide smash hit record.

"My tongue has always been my deadliest enemy - I sink or swim by it", she says. "I think that all the rejection I received through the years of playing clubs - in a country where there's a lot of great talent with very few record deals to go around - challenged me to be overly confident, and that was misperceived as arrogance. I'm able to explain that now; I couldn't see it then"

As another extremely talented Canadian songstress once said, she's looked at life from both sides now. "I worked until I was near dead", she says, "But when I was my most rich and famous, I was the most unhappy. I had accomplished my dream only to discover a new kind of emptiness."

After touring relentlessly (particularly in Canada and Europe) in support of her last two albums 멢ocking Horse?and 멇lannah? she moved back to Toronto, "to get back to myself", she says. This period has resulted in the duet with Italian superstar Zucchero called "What Are We Waiting For", featured on the Constantin Films release "Prince Valiant" (Prinz Eisenherz in Germany) which opened in Germany on 300 screens, and received major international exposure.

Alannah's journey has brought her to ARK 21 Records, where her most recent effort, Arival, was released on March 24, 1998 to critical acclaim.



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2002년 12월 13일 (금)/2016 29()  CB