クエリ: there's a tear in my beerを歌うのは誰
文章: イーサン・ラッセル 1978年にラッセルは映画やビデオのスチール写真も手がけるようになり、今日ミュージック・ビデオのパイオニアのひとりと見なされている。1985年には、ハンク・ウィリアムズ・ジュニア(英語版)の「There's a Tear in My Beer」のミュージック・ビデオがグラミー賞の最優秀ミュージックビデオ部門にノミネートされた。 1990年代、ラッセルはインタラクティブ・メディアに興味を抱き、デスクトップパソコンへのインタラクティブ・ビデオの配信を専門とする会社のクリエイティブ・ディレクターに就任した。 2007年にはローリング・ストーンズの1969年のアメリカ・ツアーに関する本を出版し、2021年には、ピーター・ジャクソン監督によるドキュメンタリー映画『ザ・ビートルズ: Get Back』のコンパニオン版が、ラッセルの多数の写真とともに出版された。
文章: whom IPA(?): /hum/, SAMPA: /hu:m/ 音声 (米): whom("who"の目的格) (人を目的語とする疑問代名詞)誰を、誰に。 Whom did you ask? 誰に質問したんですか。 Whom did you ask? 誰に質問したんですか。 (前置詞とともに、前置詞の目的語となる疑問代名詞)誰を、誰に。 To whom are you referring? 誰に話しかけていますか With whom were you talking? だれと話していますか。 To whom are you referring? 誰に話しかけていますか With whom were you talking? だれと話していますか。 (人を目的語とする関係代名詞) He's a person with whom I work. 彼は、私が一緒に働いている人です We have ten employees, of whom half are carpenters. ここには、10人従業員がいるが、その中の半分は大工です。 He's a person with whom I work. 彼は、私が一緒に働いている人です We have ten employees, of whom half are carpenters. ここには、10人従業員がいるが、その中の半分は大工です。 規範文法家からは文法的には正しくないとされているが、口語はもちろん、書き言葉においても、しばしば、目的格としてwhomに替えて、who が用いられる。米国英語において、whomは、堅苦しい上に気取った表現であるという印象がある。一方、英国英語においては、前置詞つきの用法で一般的に用いられる。前置詞つきの用法でwhoを用いるのは単なる間違い。 あなたは誰とそこに行きましたか? (英国で好まれる表現)With whom did you go there? (米国で好まれる表現)Who did you go there with?(一般には、Who went there with you?とする) (英国で好まれる表現)With whom did you go there? (米国で好まれる表現)Who did you go there with?(一般には、Who went there with you?とする) アフリカーンス語: met wie, van wie, etc. イタリア語: chi エスペラント: kiu , kiuj , kiun , kiujn スペイン語: quin , quines スウェーデン語: vem , vilka デンマーク語: hvem ドイツ語: wem , wen ポルトガル語: o que, quem ロシア語: кого , кому , кем , ком アフリカーンス語: waarmee, waarvan, etc. イタリア語: cui エスペラント: kiu , kiuj , kiun , kiujn スウェーデン語: vem , vilka スペイン語: quien , quienes デンマーク語: hvem, hvilken ドイツ語: dem 男性, der 女性, den 男性, die 女性 ポルトガル語: quem, que, o qual 男性, a qual 女性, os quais 複数, as quais 女性/複数 ロシア語: кого , кому , кем , ком 文章: 追憶 (唱歌) 「フリー・アズ・ア・バード」は、アメリカ合衆国の詩人で、賛美歌の作詞作曲もしたメアリ・S・B・シンドラー(英語版)(旧姓:ダナ (Dana))が、スペインの旋律をもとに、旧約聖書の詩篇(第11篇)に基づいて作詞した賛美歌とされる。ただし、原曲となった具体的な楽曲は特定されていない。曲名は「鳥のように、(向こうの山に)飛んでゆけ」を意味する冒頭の1行から取られている。 Flee as a bird to yon mountain, Thou who art weary of sin; Go to the clear flowing fountain, Where you may wash and be clean. Fly for th' avenger is near thee, Call, and the Saviour will hear thee, He on His bosom will bear thee; Oh, thou who art weary of sin. Oh, thou who art weary of sin. He will protect thee forever, Wipe every falling tear; He will forsake thee, Oh, never, Sheltered so tenderly there! Haste then, the hours are flying, Spend not the moments in sighing, Cease from your sorrow and crying, The Saviour will wipe ev'ry tear, 1916年には、コントラルトのルイーズ・ホーマーがこの曲を録音している。 文章: 広い河の岸辺 O Waly, waly (a lament "woe is me") up the bank, And waly, waly doun the brae (hill), And waly, waly, yon burn-side (riverside), Where I and my love wont to gae. I lean'd my back into an aik (oak), I thocht it was a trusty tree; But first it bow'd, and syne (soon) it brak (broke), Sae my true love did lightly me. O waly, waly, but love be bonnie (beautiful), A little time while it is new, But when 'tis auld (old), it waxeth cauld (cold), And fades away like the morning dew. O wherefore should I busk my heid (adorn my head)? Or wherefore should I kame (comb) my hair? For my true love has me forsook, And says he'll never love me mair (more). Now Arthur Seat shall be my bed, The sheets shall ne'er be fyl'd by me, Saint Anton's well shall be my drink, Since my true love has forsaken me. Martinmas wind, when wilt thou blaw (blow), And shake the green leaves off the tree? O gentle death, when wilt thou come? For of my life I am weary. 'Tis not the frost, that freezes fell, Nor blawing snaws (snow) inclemency, 'Tis not sic cauld (such cold) that makes me cry, But my love's heart grown cauld to me. When we cam in by Glasgow town, We were a comely sight to see; My love was clad in the black velvet, And I my sell in cramasie (crimson). But had I wist (known), before I kiss'd, That love had been sae ill to win, I'd lock my heart in a case of gold, And pin'd it with a silver pin. Oh, oh! if my young babe were born, And set upon the nurse's knee, And I my sell were dead and gane, For a maid again I'll never be. 「ザ・ウォーター・イズ・ワイド」の歌詞として広まっているもののいくつかは、『Folk Songs For Solo Singers』に収録されているが、ほかにも数多くのバージョンが、印刷出版され、歌われている。 ユルゲン・クロス (Jrgen Klos) は、この歌詞の1番が「I'm Often Drunk And Seldom Sober」(1780年ころ)に、2番が「The Seamans leave taken of his sweetest Margery」(1660年ころ)に、3番が「Oh Waly, Waly, Gin Love Be Bonny」(1724年ころに出版された時点で、既に「古い」歌とされていた)に、4番が「Hey trollie lollie, love is jolly」(1620年ころ)に、それぞれ由来することを突き止めている。しかしクロスも、1905年以前に、この歌詞が歌われていた旋律を突き止めることはできなかった。 文章: 第3軍に対するパットンの演説 Be seated. Men, all this stuff you hear about America not wanting to fight, wanting to stay out of the war, is a lot of bullshit. Americans love to fight. All real Americans love the sting and clash of battle. When you were kids, you all admired the champion marble shooter, the fastest runner, the big-league ball players and the toughest boxers. Americans love a winner and will not tolerate a loser. Americans play to win all the time. That's why Americans have never lost and will never lose a war. The very thought of losing is hateful to Americans. Battle is the most significant competitions in which a man can indulge. It brings out all that is best and it removes all that is base. You are not all going to die. Only two percent of you right here today would be killed in a major battle. Every man is scared in his first action. If he says he's not, he's a goddamn liar. But the real hero is the man who fights even though he's scared. Some men will get over their fright in a minute under fire, some take an hour, and for some it takes days. But the real man never lets his fear of death overpower his honor, his sense of duty to his country, and his innate manhood. All through your army career you men have bitched about what you call 'this chicken-shit drilling.' That is all for a purposeto ensure instant obedience to orders and to create constant alertness. This must be bred into every soldier. I don't give a fuck for a man who is not always on his toes. But the drilling has made veterans of all you men. You are ready! A man has to be alert all the time if he expects to keep on breathing. If not, some German son-of-a-bitch will sneak up behind him and beat him to death with a sock full of shit. There are four hundred neatly marked graves in Sicily, all because one man went to sleep on the jobbut they are German graves, because we caught the bastard asleep before his officer did. An army is a team. It lives, eats, sleeps, and fights as a team. This individual hero stuff is bullshit. The bilious bastards who write that stuff for the Saturday Evening Post don't know any more about real battle than they do about fucking. And we have the best teamwe have the finest food and equipment, the best spirit and the best men in the world. Why, by God, I actually pity these poor bastards we're going up against. All the real heroes are not storybook combat fighters. Every single man in the army plays a vital role. So don't ever let up. Don't ever think that your job is unimportant. What if every truck driver decided that he didn't like the whine of the shells and turned yellow and jumped headlong into a ditch? That cowardly bastard could say to himself, 'Hell, they won't miss me, just one man in thousands.' What if every man said that? Where in the hell would we be then? No, thank God, Americans don't say that. Every man does his job. Every man is important. The ordnance men are needed to supply the guns, the quartermaster is needed to bring up the food and clothes for us because where we are going there isn't a hell of a lot to steal. Every last damn man in the mess hall, even the one who boils the water to keep us from getting the GI shits, has a job to do. Each man must think not only of himself, but think of his buddy fighting alongside him. We don't want yellow cowards in the army. They should be killed off like flies. If not, they will go back home after the war, goddamn cowards, and breed more cowards. The brave men will breed more brave men. Kill off the goddamn cowards and we'll have a nation of brave men. One of the bravest men I saw in the African campaign was on a telegraph pole in the midst of furious fire while we were moving toward Tunis. I stopped and asked him what the hell he was doing up there. He answered, 'Fixing the wire, sir.' 'Isn't it a little unhealthy up there right now?' I asked. 'Yes sir, but this goddamn wire has got to be fixed.' I asked, 'Don't those planes strafing the road bother you?' And he answered, 'No sir, but you sure as hell do.' Now, there was a real soldier. A real man. A man who devoted all he had to his duty, no matter how great the odds, no matter how seemingly insignificant his duty appeared at the time. And you should have seen the trucks on the road to Gabs. Those drivers were magnificent. All day and all night they crawled along those son-of-a-bitch roads, never stopping, never deviating from their course with shells bursting all around them. Many of the men drove over 40 consecutive hours. We got through on good old American guts. These were not combat men. But they were soldiers with a job to do. They were part of a team. Without them the fight would have been lost. Sure, we all want to go home. We want to get this war over with. But you can't win a war lying down. The quickest way to get it over with is to get the bastards who started it. We want to get the hell over there and clean the goddamn thing up, and then get at those purple-pissing Japs. The quicker they are whipped, the quicker we go home. The shortest way home is through Berlin and Tokyo. So keep moving. And when we get to Berlin, I am personally going to shoot that paper-hanging son-of-a-bitch Hitler. When a man is lying in a shell hole, if he just stays there all day, a Boche will get him eventually. The hell with that. My men don't dig foxholes. Foxholes only slow up an offensive. Keep moving. We'll win this war, but we'll win it only by fighting and showing the Germans that we've got more guts than they have or ever will have. We're not just going to shoot the bastards, we're going to rip out their living goddamned guts and use them to grease the treads of our tanks. We're going to murder those lousy Hun cocksuckers by the bushel-fucking-basket. Some of you men are wondering whether or not you'll chicken out under fire. Don't worry about it. I can assure you that you'll all do your duty. War is a bloody business, a killing business. The Nazis are the enemy. Wade into them, spill their blood or they will spill yours. Shoot them in the guts. Rip open their belly. When shells are hitting all around you and you wipe the dirt from your face and you realize that it's not dirt, it's the blood and gut of what was once your best friend, you'll know what to do. I don't want any messages saying 'I'm holding my position.' We're not holding a goddamned thing. We're advancing constantly and we're not interested in holding anything except the enemy's balls. We're going to hold him by his balls and we're going to kick him in the ass; twist his balls and kick the living shit out of him all the time. Our plan of operation is to advance and keep on advancing. We're going to go through the enemy like shit through a tinhorn. There will be some complaints that we're pushing our people too hard. I don't give a damn about such complaints. I believe that an ounce of sweat will save a gallon of blood. The harder we push, the more Germans we kill. The more Germans we kill, the fewer of our men will be killed. Pushing harder means fewer casualties. I want you all to remember that. My men don't surrender. I don't want to hear of any soldier under my command being captured unless he is hit. Even if you are hit, you can still fight. That's not just bullshit either. I want men like the lieutenant in Libya who, with a Luger against his chest, swept aside the gun with his hand, jerked his helmet off with the other and busted the hell out of the Boche with the helmet. Then he picked up the gun and he killed another German. All this time the man had a bullet through his lung. That's a man for you! Don't forget, you don't know I'm here at all. No word of that fact is to be mentioned in any letters. The world is not supposed to know what the hell they did with me. I'm not supposed to be commanding this army. I'm not even supposed to be in England. Let the first bastards to find out be the goddamned Germans. Some day, I want them to rise up on their piss-soaked hind legs and howl 'Ach! It's the goddamned Third Army and that son-of-a-bitch Patton again!' Then there's one thing you men will be able to say when this war is over and you get back home. Thirty years from now when you're sitting by your fireside with your grandson on your knee and he asks, 'What did you do in the great World War Two?' You won't have to cough and say, 'Well, your granddaddy shoveled shit in Louisiana.' No sir, you can look him straight in the eye and say 'Son, your granddaddy rode with the great Third Army and a son-of-a-goddamned-bitch named George Patton! All right, you sons of bitches. You know how I feel. I'll be proud to lead you wonderful guys in battle any time, anywhere. That's all. 文章: すべては終わりぬ Let us pause in life's pleasures and count its many tears, While we all sup sorrow with the poor; There's a song that will linger forever in our ears; Oh! Hard times come again no more. Chorus: 'Tis the song, the sigh of the weary, Hard Times, hard times, come again no more. Many days you have lingered around my cabin door; Oh! Hard times come again no more. While we seek mirth and beauty and music light and gay, There are frail forms fainting at the door; Though their voices are silent, their pleading looks will say Oh! Hard times come again no more. Chorus There's a pale weeping maiden who toils her life away, With a worn heart whose better days are o'er: Though her voice would be merry, 'tis sighing all the day, Oh! Hard times come again no more. Chorus 'Tis a sigh that is wafted across the troubled wave, 'Tis a wail that is heard upon the shore 'Tis a dirge that is murmured around the lowly grave Oh! Hard times come again no more. Chorus 文章: リチャード・ロジャース (作曲家) 1935年、ブロードウェイに戻り、1943年にハートが亡くなる直前まで、数多くのヒット・ミュージカルを作詞作曲した。中でも有名なのは『Jumbo』(1935)、ジョージ・バランシン振付のバレエ「10番街の殺人」が使用された『On Your Toes』(1936)、『Babes in Arms』(1937)、『I Married an Angel』(1938)、『The Boys from Syracuse』(1938)、『Pal Joey』(1940)、そして彼らの最後のオリジナル作品『By Jupiter』(1942)である。またロジャースはこれらの作品のうちいくつかの脚本にも貢献していた。 これらの公演で使用された楽曲の多く、「The Most Beautiful Girl in the World」、「My Romance」、「Little Girl Blue」、「I'll Tell The Man In The Street」、「There's a Small Hotel」、「Where or When」、「マイ・ファニー・ヴァレンタイン」、「ザ・レディ・イズ・ア・トランプ」、「恋に恋して」、「Bewitched, Bothered and Bewildered」、「Wait Till You See Her」などが今も歌い継がれている。 1939年、ロジャースは振付師マーク・プラットと共にバレエ・リュス・ド・モンテカルロのバレエ『Ghost Town』の作曲を行なった。 文章: こううたう ( )内はオリジナル歌唱者。 文章: トーマス・C・カンサ Each home was used as a learning place. I made it my obligation to sit and have coffee with the volunteers and homeowners and get them to tell us about their personal experience during and after the tsunami. These coffee sessions brought the volunteers and families closer together. Their stories are not written anywhere, which is why it was important that we have an oral history lesson. It marked the first time that volunteers and experienced volunteers were exposed to a personal relationship. I encouraged the volunteers to write a thank you card to the people that were kind enough to let us into their homes and to share their experiences. I feel that I have changed and this experience has helped me revalue my own life. The people were magical. There was no grabbing of things nor any looting. It was always, “You first, please!” Even when food was distributed, it was organised in a disciplined manner. I was highly impressed by the way people were able to team up and keep their spirits up. There was no running water, no gas and no electricity, but the human spirit was there in abundance. I was prepared for a chaotic situation but, to my surprise, no shops were looted and people shared what little they had. There was no fussing and waiting for handouts. People of all ages were engaged in helping each other. Everyone helped those that were weaker. I witnessed this without fail everyday. When I first came in by bus, the roads were severely damaged however, seven days later these roads were as good as new - kilometer after kilometer. This is a lesson other countries should learn. The local government, the private sector and the unions worked hand-in-hand to get things done. Please do not get the impression that all was 100% and in some instances some thing were too slow for my liking. But I have to give them the benefit of the doubt under the circumstanes. The strong work ethic of all the people may be one of the reasons why so much progress was made in such a short time. 文章: picture 中英語 pycture < 古フランス語 picture < ラテン語 pictra (“絵画”) < ping (“絵を描く”) (イギリス英語(容認発音:RP)) IPA(?): /pkt/, SAMPA: /"pIktS@/ (アメリカ英語(GenAm)) IPA(?): /pkt/, SAMPA: /"pIktS@`/ picture (複数 pictures) 画像。映像。 絵。絵画。 There was a picture hanging above the fireplace.暖炉の上に絵が架けてあった。 There was a picture hanging above the fireplace.暖炉の上に絵が架けてあった。 写真。 I took a picture of that church.その教会の写真を撮った。 I took a picture of that church.その教会の写真を撮った。 (俗用: motion picture より) 映画作品。 Casablanca is my all-time favorite picture.『カサブランカ』はこれまでで私が一番好きな映画だ。 Casablanca is my all-time favorite picture.『カサブランカ』はこれまでで私が一番好きな映画だ。 (俗用、廃語 複数形で) (娯楽としての) 映画。 Let's go to the pictures.映画を見に行こう。 Let's go to the pictures.映画を見に行こう。 典型。 She's the very picture of health.彼女は健康そのものだ。 She's the very picture of health.彼女は健康そのものだ。 語義1: image picture-perfect picture postcard (as) pretty as a picture the big picture picturesque picture framing picture (三単現: pictures, 現在分詞: picturing, 過去形: pictured, 過去分詞: pictured ) (他動詞) ~を画像を用いて示す。 (他動詞) ~を想像する。思い描く。 Picture yourself on a beach.自分が浜辺にいるところを想像してみましょう。 Picture yourself on a beach.自分が浜辺にいるところを想像してみましょう。 (他動詞) ~を描写する。 depict depiction pictorial 文章: sick 中英語:sek, sik< 古英語:soc< ゲルマン祖語 *seukaz (cf. 西フリジア語:siik, オランダ語:ziek, ドイツ語:siech)< 印欧祖語 *面倒なことになる (cf. 中世アイルランド語:socht (“静寂”), 古典アルメニア語: (hiwcanim, “弱った”)). enPR: sk, IPA: /sk/, X-SAMPA: /sIk/ (英) (米) sick (比較級 sicker, 最上級 sickest) 不健康な、気分が悪い、病気の、。 She was sick all day with the flu 彼女は風邪で終日調子が悪かった。 She was sick all day with the flu 彼女は風邪で終日調子が悪かった。 (口語) 精神的に不安定な。 (口語) 悪趣味な。 That's a sick joke. あれは、悪趣味なジョークだ。 That's a sick joke. あれは、悪趣味なジョークだ。 吐き気を催す。 うんざりで、あきあきして。 I'm sick of it. I'm sick of it. (俗語) 素晴らしい、やばい。 This tune is sick. この曲はやばい。 Dude this car has a fully sick subwoofer! おい、この車、やばいサブウーファ積んでるね。 This tune is sick. この曲はやばい。 Dude this car has a fully sick subwoofer! おい、この車、やばいサブウーファ積んでるね。 ひどい。 sick building syndrome - シックハウス症候群 my car is looking pretty sick my job prospects are pretty sick sick building syndrome - シックハウス症候群 my car is looking pretty sick my job prospects are pretty sick 語義1 ill, not well, poorly (British), sickly, unwell 語義2 disturbed, sick in the head, twisted, warped 語義4 nauseated, nauseous 語義6 rad, wicked 語義1 fit, healthy, well 語義6 crap, naff, uncool sicken sickening sickie sickish sickly sickness sicko airsick be sick brainsick carsick dogsick fall sick heartsick homesick iron-sick, iron sick, ironsick junk sick lovesick nailsick, nail sick, nailsick seasick sick and tired sick and twisted sick as a dog sick bag sickbay sickbed sick building syndrome sick day sickhouse sick joke sick note sick pay sick puppy sickout sickroom sick to one's stomach soulsick thoughtsick sick (不可算) (口語) 吐瀉物。 He lay there in a pool of his own sick. 彼は自分の吐いたものにまみれて横たわっていた。 He lay there in a pool of his own sick. 彼は自分の吐いたものにまみれて横たわっていた。 "sic"の現在分詞sicking、過去分詞shickedから逆生成。 sick (三単現: sicks, 現在分詞: sicking, 過去形: sicked, 過去分詞: sicked ) (まれ, "sic"の異綴) (犬などを)けしかける。 文章: ホワイル・マイ・ギター・ジェントリー・ウィープス 「ホワイル・マイ・ギター・ジェントリー・ウィープス」(While My Guitar Gently Weeps)は、ビートルズの楽曲である。1968年に発売されたオリジナル・アルバム『ザ・ビートルズ』に収録された。作詞作曲はジョージ・ハリスンで、歌詞はビートルズのメンバー内で生じた不和についての言及とされている。本作のリードギターはハリスンの友人であるエリック・クラプトンが演奏しており、雰囲気の悪さを緩和する役割も果たしたが、クレジットには記載されていない。 ハリスンは、中国の易経の書籍に触発されて本作を書いた。1968年7月にアコースティック・ギターとハーモニウムを主体としたデモ音源が録音され、8月から9月にかけてバンド形態でのレコーディングが行われた。1996年に発売された『ザ・ビートルズ・アンソロジー3』には前述のデモ音源が収録され、2006年に発売されたシルク・ドゥ・ソレイユのショーのサウンドトラック盤『LOVE』には前述のデモにジョージ・マーティンがアレンジしたストリングスがオーバー・ダビングされた音源が収録された。 イギリスやアメリカではシングル・カットされていないが、日本、ヨーロッパ、オーストラリアではシングル『オブ・ラ・ディ、オブ・ラ・ダ』のB面曲としてシングル・カットされた。リリース後、音楽評論家から称賛を受け、「サムシング」や「ヒア・カムズ・ザ・サン」と並んでハリスンの代表曲のひとつとされ、解散後のソロライブの定番曲となった。「ローリング・ストーンの選ぶオールタイム・グレイテスト・ソング500」では136位にランクインした。 文章: ハッチハッチェル デキシード・ザ・エモンズからハウリンハチマまで英語ロック、ブルースのハードな曲でボーカル、ギター、ドラムを担当。ハッチハッチェルとしてのソロ活動初期(アルバム「IT'S MY BEER」~「All That Spaghetti」)は、英語・スウィンギーな曲でボーカル、ギター、ヴァイオリン、バンジョーを担当。ハッチェル特急楽団、ハッチハッチェルとしてのソロアルバム「オツなひととき」以降や、ハッチハッチェルバンド、ハッチェルズ(ハッチハッチェルオーケストラ)では日本語でユーモラスな曲から人生讃歌までヴァイオリンに乗せ歌う。小島麻由美のアルバムやライブでドラムを担当。 文章: ウェルカム・トゥ・クリスマス ウェルカム・トゥ・クリスマスは、主に東京ディズニーシーのショーなどで使用されるクリスマスソングの一つ。 初めて公開されたのは、2003年11月4日から12月25日にかけて東京ディズニーシーで開催されたスペシャルイベント『ハーバーサイド・クリスマス』の「クリスマス・ホリデー・イン・ニューヨーク」と「キャンドルライト・リフレクションズ」という2つのショー。そのショーのクライマックスで使用された。中でも有名なのは、「キャンドルライト・リフレクションズ」のラストで流される、島田歌穂が歌うバージョン。 2003年に使用されて以来、『ハーバーサイド・クリスマス』の期間中は、ショー、パーク内のBGMや、アトモスフィア・エンターテイメントの演奏曲として、数多く使用されている。 英語の歌詞 Here it is first sign of Christmas I know there's a chill in the air But I'm warmed by the love that we share Take my hand and walk with me into this wonderland where a fantasy becomes reality The tree that stands before us lights our way tonight And the voices of a chorus fill the air with excitement and last it's arrived Welcome to Christmas. Our favorite time of year Finally we're gathering in the joy it brings We're so happy that it's here Welcome to Christmas. The star that shines so bright brings a season of miracle for all the world Beginning tonight Welcome to Christmas Silver bell, love is wrapped in ribbons Smiles that are full of good cheer And the friendship that we make through the year Celebrate. let the magic take you back again to the wonder you knew, to the child in you The tree that stands before us lights our way tonight And the voices of a chorus fill the air with excitement and last it's arrived Welcome to Christmas. Our favorite time of year Finally we're gathering in the joy it brings We're so happy that it's here Welcome to Christmas. The star that shines so bright brings a season of miracle for all the world Beginning tonight Welcome to Christmas Welcome to Christmas. Our favorite time of year Finally we're gathering in the joy it brings We're so happy that it's here Welcome to Christmas. The star that shines so bright brings a season of miracle for all the world Beginning tonight Welcome to Christmas 文章: 林えりか ※「breeze」として 文章: ビター・ティアーズ この曲のシングルのB面曲、ないし、CDの2曲目以降には、アルバム『X』に収録された「フェイス・イン・イーチ・アザー (Faith In Each Other)」のライブ・バージョンや、ギタリスト/サクソフォーン奏者のカーク・ペンギリーが書いて演奏している「ジ・アザー・サイド (The Other Side)」、ギタリスト/キーボード奏者のアンドリュー・ファリスが書いて演奏している「スース・ミー (Soothe Me)」が収録された。また、ピーター・ロリマー (Peter Lorimer) やデイヴィッド・モラレス(英語版)が手がけたリミックス・バージョンが収められているものもある。