Galás is known for being a fiercely confrontational avant-garde performer and is noted for her wailing, four-octave vocal range. Galás was the daughter of Greek Orthodox parents and her singing was roundly discouraged, although her prowess as a classical pianist was nurtured; ultimately, her strict upbringing resulted in a reckless, drug-fueled youth prior to her entrance into the University of California's music and visual arts program. Galás made her performing debut in 1979 at France's Festival d'Avignon, which led to an invitation to assume the lead role in composer Vinko Globokar's politically charged opera Un Jour Comme un Autre. In subsequent solo performance art pieces like Wild Women with Steak Knives and Tragouthia Apo to Aima Exon Fonos, Galás further honed her unique, shattering vocal style, inspired by the Schrei ("shriek") opera of German expressionism (a form employing a system of four microphones and a series of echoes and delays).
She worked with many avant-garde composers including Phillip Glass, Terry Riley, John Zorn, Iannis Xenakis and Vinko Globokar. She made her performance debut at the Festival d'Avignon in France as the lead in Globokar's opera, Un Jour Comme Une Autre which deals with the death by torture of a Turkish woman. The work was sponsored by Amnesty International. She also contributed her voice to Francis Ford Coppola's film Dracula (1992) and appeared on the film's soundtrack.
Her work first garnered widespread attention with the controversial 1991 live recording of the album "Plague Mass" in the Cathedral of Saint John the Divine in New York. With it, Galás attacked the Catholic Church for its indifference to AIDS using biblical texts. In the words of Terrorizor Magazine, "The church was made to burn with sound, not fire." Plague Mass was a live rendition of excerpts from her same-titled trilogy which began as a response/homage/indictment to the multitudinous effects of AIDS upon the silent class - of which her brother was a member. During the period of these recordings, Galás had "We are all HIV+" tattooed upon her knuckles; an artistic expression of disillusionment and disgust with the ignorance and apathy surrounding the AIDS epidemic. Her brother, who died during the trilogy's final production, reportedly appreciated her efforts.
Susan McClary (1991) writes that Galás, "heralds a new moment in the history of musical representation," after describing her thus: "Galás emerged within the post-modern performance art scene in the seventies...protesting...the treatment of victims of the junta, attitudes towards victims of AIDS...Her pieces are constructed from the ululation of traditional Mediterranean keening...whispers, shrieks, and moans."
In 1994, Galás collaborated with Led Zeppelin bass guitarist John Paul Jones. The resultant record, "The Sporting Life", while containing much of Galás's trademark vocal gymnastics, is probably the closest she has ever come to rock music.
Galás also performs as a blues artist interpreting a wide range of songs into her unique piano and vocal styles. This aspect of her work is perhaps best represented by her 1992 album, "The Singer" where she covered the likes of Willie Dixon, Roy Acuff, and Screamin' Jay Hawkins while accompaning herself on piano. For that album, she also recorded several traditional songs as well as the rarely heard Desmond Carter-penned version of Gloomy Sunday. Many of her selections both within and outside of blues repertoire have sometimes been categorized as 'homicidal love songs'. She also focuses on the death penalty. One program of songs, "Frenzy", has been dedicated to Aileen Wuornos and features the work of Phil Ochs and Hank Williams Sr.
Her latest song cycle is an interpretation of songs by Edith Piaf and Marlene Dietrich.
Official Myspace: http://www.myspace.com/songsofexile
All the Way
Diamanda Galás Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Happy to be near you
When you need someone to cheer you all the way
Taller than the tallest tree is
That's how it′s got to feel
Deeper than the deep blue sea is
That's how deep it goes if it's real
When somebody needs you
It′s no good unless he needs you all the way
Through the good or lean years
And for all the in-between years come what may
Who knows where the road will lead us
Only a fool would say
But if you′ll let me love you
It's for sure I′m gonna love you all the way all the way
So, if you'll let me love you
It′s for sure I'm gonna love you all the way all the way
The song "All the Way" by Diamanda Galás is a soulful and powerful rendition of the classic love ballad. The lyrics of the song talk about how love should be a commitment and should be offered wholeheartedly, without reservation or hesitation. The first line of the song, "It's no good unless he loves you all the way," sets the tone for the rest of the song, emphasizing the importance of complete love in any relationship.
The second verse of the song talks about how true love should be deeper than the deepest sea and higher than the tallest tree. This emphasizes the depth and intensity of the love that one should experience with their partner. It is not just about being happy around them, but also being there for them during tough times.
The chorus of the song reinforces the message that love should be all-encompassing and all-inclusive. The lyrics state that love should be there through the good times and the bad times and should be offered without hesitation. The final verse of the song talks about how the road ahead in a relationship is never certain, but if the partner lets the singer love them, it will be done so with complete dedication and without reservation.
The song "All the Way" was first recorded in 1957 by Frank Sinatra, and it has been covered by several artists since then, including Celine Dion, Michael Bublé, and Etta James. However, Diamanda Galás's rendition is unique and emotional, and she infuses the song with her signature avant-garde style.
Line by Line Meaning
It's no good unless he loves you all the way
A relationship is not worth it unless the person loves you unconditionally and with their whole being.
Happy to be near you
The person should be happy just being in your presence and spending time with you.
When you need someone to cheer you all the way
The person should be there for you and support you through all of life's ups and downs.
Taller than the tallest tree is
The love should be so strong and powerful that it makes you feel like you're standing taller than anything else in the world.
That's how it's got to feel
This is the standard that true love should live up to.
Deeper than the deep blue sea is
The depth of the love should be immeasurable, like the depth of the ocean.
That's how deep it goes if it's real
True love should be so profound and genuine that it reaches the deepest parts of your soul.
When somebody needs you
Being needed by someone is an important aspect of a relationship.
It's no good unless he needs you all the way
The person should need you deeply and wholly in order for the relationship to be meaningful.
Through the good or lean years
The love should be strong enough to endure all of life's challenges and difficulties.
And for all the in-between years come what may
No matter what happens in the years to come, the love should stay strong and unwavering.
Who knows where the road will lead us
The future is always uncertain and unpredictable.
Only a fool would say
It would be foolish to assume that you know where the future will take you.
But if you'll let me love you
If you give me the chance, I will love you deeply and fully.
It's for sure I'm gonna love you all the way all the way
I will love you completely, no matter what the future may hold.
Writer(s): Sammy Cahn
Contributed by Wyatt S. Suggest a correction in the comments below.