Friends - song and lyrics by David Essex | Spotify

About the Song

Ah, “Oh What a Circus”! This track, from the musical Gatsby, offers a completely different flavor of David Essex. While many remember him for the rock anthems like “Rock On” or the tender ballads like “Hold Me Close,” “Oh What a Circus” showcases his versatility and theatrical flair. It’s a vibrant, energetic, and slightly manic piece that perfectly captures the frenetic energy of the Roaring Twenties, the backdrop for F. Scott Fitzgerald’s iconic novel, The Great Gatsby.

David Essex wasn’t just a pop star; he was a true performer, comfortable on stage as well as in the recording studio. 1 His background in musical theater shines through in “Oh What a Circus.” It’s not just a song; it’s a performance. He embodies the character, throwing himself into the role with gusto. You can almost picture him on stage, strutting and swaggering, surrounded by flapper girls and jazz musicians.

The song itself is a whirlwind of musical styles. It’s got elements of jazz, ragtime, and even a touch of vaudeville. It’s a chaotic, yet carefully orchestrated, explosion of sound that perfectly mirrors the decadent and often reckless atmosphere of the Jazz Age. The lyrics, full of colorful imagery and witty observations, paint a vivid picture of a society obsessed with pleasure and excess. It’s a world of champagne, parties, and fleeting romances, where appearances are everything and reality is often blurred.

What makes “Oh What a Circus” so captivating is its sheer exuberance. It’s a celebration of life, albeit a slightly狂乱 celebration. Essex’s performance is infectious; you can’t help but get caught up in the energy of the song. It’s a reminder that life, like a circus, can be full of surprises, thrills, and maybe even a little bit of danger. So, if you’re looking for a David Essex track that’s a little bit different, a little bit theatrical, and a whole lot of fun, then “Oh What a Circus” is definitely worth a listen. It’s a testament to his talent as a performer and his ability to inhabit a song completely. It’s a musical journey back to a bygone era, a time of glamour, extravagance, and a whole lot of razzmatazz.David Essex on the emotional turmoil being a 70s pin-up caused | Daily Mail  Online

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Lyrics: Oh What A Circus 

Oh what a circus! Oh what a show!
Argentina has gone to town
Over the death of an actress called Eva Peron
We’ve all gone crazy
Mourning all day and mourning all night
Falling over ourselves to get all, of the misery right

Oh what an exit! That’s how to go!
When they’re ringing your curtain down
Demand to be buried like Eva Peron
It’s quite a sunset
And good for the country in a roundabout way
We’ve made the front pages of all, the world’s papers today

But who is this Santa Evita?
Why all this howling hysterical sorrow?
What kind of goddess has lived among us?
How will we ever get by without her?

She had her moments–she had some style
The best show in town was the crowd
Outside the Casa Rosada crying, “Eva Peron”
But that’s all gone now
As soon as the smoke from the funeral clears
We’re all gonna see and howl, she did nothing for years!

Salve regina mater misericordiae
Vita dulcedo et spes nostra
Salve salve regina
Ad te clamamus exules filii Eva
Ad te suspiramus gementes et flentes
O clemens o pia

You let down your people Evita
You were supposed to have been immortal
That’s all they wanted
Not much to ask for
But in the end you could not deliver

Salve regina mater misericordiae
Vita dulcedo et spes nostra
Salve salve regina Peron
Ad te clamamus exules filii Eva
Ad te suspiramus gementes et flentes
O clemens o pia

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Billy Joe Shaver first caught Waylon Jennings’ eye at Willie Nelson’s Dripping Springs Reunion back in 1972 while passing a guitar around backstage and picking “Willy the Wandering Gypsy and Me.” Waylon immediately stopped in his tracks, learned the chords on the spot, and promised to record the material. Instead of a quick cut, Shaver found himself stuck in Nashville for six months trying to collect on that promise while dealing with empty pockets and a songwriter dodging his calls. A sympathetic DJ eventually smuggled him right into one of Waylon’s studio dates. Still trying to brush him off, Waylon handed over a hundred-dollar bill with strict instructions to clear out. Shaver was broke enough to desperately need the cash, yet his pride won out. He fired the money right back with a harsh insult, prompting a furious Waylon to storm out into the hallway surrounded by a crowd. Shaver stood his ground and told him straight: listen to the songs, or catch a beating right there in front of God and everybody. Waylon finally sat down and listened. One track led to another until Jennings scrapped his own plans and built an entire record around Shaver’s writing. Released in 1973, Honky Tonk Heroes packed nine of Billy Joe’s compositions and turned into a crown jewel of the outlaw movement. The recording room stayed just as volatile, with Shaver loudly arguing over arrangement choices and accusing Waylon of altering his vision. Yet that exact friction gave the record its teeth. Waylon had just fought RCA for total creative freedom, and Billy Joe Shaver proved stubborn enough to demand that exact same respect for the words on the page.