Altrockchick

I have decided to give my readers a temporary break from my legendary long-windedness and pay homage to one of Canada’s greatest contributions to mental health… The arts.

I’m only asking for two minutes of your precious time. Please let me know if you have heard the recording or if you have any updates. I mentioned my mental well-being, yes.

Hey there, folks! If you’re looking for an original copy of a valuable collector’s item, you can get it for $119.99. You’ll receive your money back as well. These two minutes were a worldwide phenomenon and made history. These two minutes were incredibly small, just two minutes-weeny! Absolutely!

Not even Captain Kirk could pull off such an impressive feat! It’s like transporting the state of ecstasy to another dimension, a feat that only Scotty could accomplish.

Ah, I see that you view my claim with extreme skepticism! Perhaps you have heard a song that takes place in a brutally cold environment, measured at a frigid -40ºF, and you’re wondering how such a song could attract any listeners outside of Antarctic penguins, Greenlanders, and Siberians. Maybe you may ask yourself who in the hell would stage a rodeo in that kind of weather and go to it, dumb as hell.

I will get back to you when I am here. Just play the video and follow the lyrics below. If you want to listen to the song “Rodeo” and take those precious two minutes, I will address all your questions, but of course, I will do it now because you want me to.

THE RODEO SONG (Gaye Delorme)

Well it’s forty below And I don’t give a fuck Got a heater in my truck And I’m off to the rodeo

It’s an allemande left And allemande right C’mon you fuckin’ dummy Get your right step right Get offstage you goddamn goof Y’know you piss me off You fuckin’ jerk Get on my nerves

Well here comes Johnny With his pecker in his hand He’s a one-ball man And he’s off to the rodeo

It’s an allemande left And allemande right C’mon you fuckin’ dummy Get your right step right Get offstage you goddamn goof Y’know you piss me off You fuckin’ jerk Get on my nerves

Well it’s forty below And I ain’t got a truck And I don’t give a BLEEP ‘Cause I’m off to the rodeo

It’s an allemande left And allemande right C’mon you fuckin’ dummy Get your right step right Get offstage you goddamn goof Y’know you piss me off You fuckin’ jerk Get on my nerves

Well here comes Johnny With his pecker in his hand He’s a one-ball man And he’s off to the rodeo

It’s an allemande left And allemande right C’mon you fuckin’ dummy Get your right step right Get offstage you goddamn goof Y’know you piss me off You fuckin’ jerk Get on my nerves

There! Do you feel improved? I’ll elucidate why you feel enhanced, as well!

How many Canadians are needed to produce an ecstasy transporter? It turns out that the answer is five. Gaye Delorme is the individual responsible for composing the song, while the remaining four individuals are the members of Garry Lee and Showdown (or simply Showdown) who had the fortunate opportunity to record the song for their album Welcome to the Rodeo, which was released in 1982.

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Gaye Delorme, the renowned musician, created the iconic guitar riff for “Earache My Eye” while collaborating with Stanley Clarke and Cheech and Chong. Additionally, he had the opportunity to work alongside the Edmonton Symphony Orchestra, where he showcased his talent by performing Rodrigo’s Concierto de Aranjuez, a personal favorite of mine. As mentioned in his mini-biography on canadianbands.Com, Delorme became highly sought after as a studio musician, live guitarist, and producer/writer. Over time, he honed his skills in various guitar genres, such as flamenco, classical, and jazz (in the style of Django). Interestingly, during his time in a correctional facility, Delorme taught himself how to play the guitar at the young age of 14. Gaye Delorme truly had an intriguing life story.

Accompanied by his fellow bandmate, Charles Holley, he quickly found a coffee shop and comfortably sat down. He grabbed a guitar and prepared for an afternoon jam session, alongside someone who had a saw. He remembered his coat that he had left behind the previous night and made his way to another bar. He wandered across the street and settled in at Showdown, a hotel in Drayton Valley, Alta. On Saturday morning, Lee woke up and unexpectedly came across Delorme, as stated in Scott Cruickshank’s 2018 interview with the band members in the Calgary Herald: “During a chilly winter weekend in 1979, Garry Lee, the lead singer and fiddler of Showdown, found himself in the company of Delorme.”

Lee: There was just me and another guy in the bar and he said three or four times (to the musician), “Hey, buddy, do that song.” And he finally did it and what he did was “The Rodeo Song.”

Holley: We put a tape recorder under the table and taped it. We went back to our room and listened to it again and thought, We could do this. So I got the acoustic out and Garry got the fiddle out and he started sawing away. We said, “We’ll just make this sort of a hoedown.” We created a rough arrangement.

The lead single on Welcome to the Rodeo, “The Rodeo Song,” became the closing track and received an overwhelmingly positive response from both the public and record-buying relatives. When the band performed this song, it led to a cautionary throw to them. However, your wind is that your relatives are the ones who caution throw to them when the band performs this song and receive a positive response overwhelmingly.

“The Rodeo Song” maintained its ability to captivate people universally, even after the band’s dissolution due to a heated disagreement over monetary compensation, following its global success that went unnoticed by many. In spite of being prohibited by different radio stations and governmental bodies, the song endured. As reported by the Herald:

Everyone went their separate ways, but Lee hired studio musicians to slap together another Showdown album, Loaded Loose and Rowdy. (“I try to forget about that one.”) “The Rodeo Song,” on the other hand, had lasting appeal.

Lee: I have students who are teenagers. Sometimes they come to school and smile at me and say, “Guess what my grandpa played for me?” Or, “Guess what my dad played for me? Is that really you?”

LaRocque (guitarist): A guy came up to me (in the late-1990s after a gig in Munich, Germany) and said, “You were in das band,” and he whips out the album for me to sign. That happened all over the place.

Holley: You could hear it in a disco in Adelaide or you could hear it somewhere in Thailand. It’s amazing. It’s a worldwide hit. But it didn’t turn out like worldwide hits usually turn out. I mean, it’s not “She Loves You.”

McLellan (drummer): Last week, some of my high-school students were singing it. They didn’t even know I was the drummer.

I cannot explain why the guy is heading to the rodeo in the dead of winter, but it is held outdoors in Calgary during the summer, so details about who really gives a fuck are irrelevant. Lee Garry plays the fiddle beautifully and his clipped vocal gives the impression that he is driving the truck that is now swerving around the idiots blocking his right and left, hence the “allemande allemande” reference. The guitar duets are outstanding and the Rodeo song recorded by them clearly indicates that the band was on fire when they made the Rodeo album, which should be mentioned as a pretty good country album.

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I think of myself as a woman who frequently uses the word “fuck” with enthusiasm and qualifies the subject on how women are weighed in, especially in the context of mental health. This is why I find the song absolutely captivating and worth mentioning.

Indulging in all the sinful pleasures that Vegas has to offer is an irresistible experience. Whether it’s devouring a double pepperoni pizza or indulging in cigarettes or ice cream, we often choose to ignore the attached risks because the rewards are usually quite satisfying.

True was “Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s Billy Joel’s

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In this case, swearing in the car seems to be a much healthier response for us to expel some of the tension caused by encountering idiotic drivers on the road. Since we often resort to swearing when drivers cut us off, hog the road, or drive under the speed limit in the passing lane, it’s no wonder that many of us can relate to the lyrics of Garry Lee’s song “Rodeo.” This aspect of the song perfectly captures our go-to behavior and our true feelings when we encounter dumb shit drivers.

Introduction, I happened upon an article in The Washington Post written by Elizabeth Jameson, titled “How I Learned That Swearing Can Be Good for the Soul”. Thanks to Apple, I stumbled upon another free subscription to The Washington Post, allowing me to read this article. There was also an article I stumbled upon in the queue titled “The Rodeo Song”, which moved me. It was about the subject of mental health, which leads us to all.

Science supports Elizabeth . . . As do many others whose physical health has let them down.

A number of studies have shown that swearing in stressful circumstances can have positive physiological effects, such as increased tolerance to pain and improved stamina. I wonder now whether trading profanities could be used more widely and with therapeutic intention within the disabled community, and even beyond.

I’ve begun asking friends — particularly those living with disease or disability — what they think of embracing this kind of uncensored expression. While some can’t relate, others understand intuitively what it’s taken me decades of living with M.S. to fully articulate: that words can pierce the suffocating social pressure, that they can blunt the pains of a difficult daily existence. For me, they are something to help ease my grief over a body that is failing me.

I often talk about the healing properties of music and how laughter is the best medicine. I don’t know what Gaye Delorme had in mind when he wrote “Song Rodeo The,” but he created a therapeutic booster in the form of a song, which encourages me to feel free enough to do something crazy, like driving a big old pickup truck on icy roads in sub-zero weather. It makes me laugh and serves as his motivation for whatever therapeutic purposes he had in mind.

I think the enduring popularity of the song “Rodeo” is essentially a testament to the freedom it represents – the freedom to have a great time, to challenge social norms, and to take risks without restraint.

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