Some enchanted evening, you may see a stranger
You may see a stranger across a crowded room
And somehow you know, you know even then
That somehow you’ll see her again and again

Some enchanted evening, someone may be laughing
You may hear her laughing across a crowded room
And night after night, as strange as it seems
The sound of her laughter will sing in your dreams

Who can explain it, who can tell you why?
Fools give you reasons, wise men never try

Some enchanted evening, when you find your true love
When you hear her call you across a crowded room
Then fly to her side and make her your own
Or all through your life you may dream all alone

Once you have found her, never let her go
Once you have found her, never let her go

No dispute possible, nor intended. 😉

Obviously they put the shorter version on the album, rather than the longer one, for a reason. I’m assuming that they thought the short version worked better for whatever reason. That’s rather obvious.

I put the longer version up because I like it better.

Actually, with today’s music, I think most of it is repetomusic.

Well, I listen less to today’s pop, but yes, I’d say it is likely to be the case.

}}} in ears drive spikes

Gotta kill the earworms, SOMEHOW. 😀

I’ve found a much less destructive means, interestingly. The song “Cantaloop (Flip Fantasia) by US3, from 1990, does a remarkable job of clearing out and resetting the earworm, in my experience. Cannot guarantee you will experience the same, but you might try it.
https://www.youtube.com/watch?v=JwBjhBL9G6U
It’s based on a similarly titled purely instrumental piece by Herbie Hancock.

And yeah, “The Lion Sleeps Tonight”, along with “Come on Eileen”, “Oh, Sherrie”, and “Sarah” (along with “We Sang This Shitty”) are all vile disgusting examples of earworm repetomusic.

If I am in a store and their #$%^%^ crap muzak puts one of them on, if I don’t have headphones I will literally put my fingers in my ears and hum to myself to avoid hearing the piece of excrement.

}}} More like repetomuck…

Agreed. 😀

}}} Even on their album, when they could have done the 5-minute version, they only had the shorter version.

Maybe that’s a sign they did not like it either, Neo. 😀

As to the Melba Moore version, that’s different. Club music requirements are happy to have longer versions — the goal there is to relax and dance. It’s also got a much stronger beat and is clearly funk, with just a hint of disco (the horns and the slide type tones), and dance music often has repeto qualities, because the goal is to dance, to zone out, and that helps with that.

Dancing is very much zen, not motorcycle maintenance.

Repetition in componentry is a feature, not a bug.

what’s not to like,
what’s not to like

in ears drive spikes

It’s not just that the Bee Gees didn’t release this version for airplay. Even on their album, when they could have done the 5-minute version, they only had the shorter version.

On the other hand, the Melba Moore version, which is over 7 minutes long, was a pretty big hit in clubs.

Actually, with today’s music, I think most of it is repetomusic.

Well, at 5+ minutes, it’s obviously “too long” to get airplay. There have been only a few songs that ever got airplay of note on radio stations that were over 4 mins.

But it still seems likely that it was meeting my standard for “repetomusic”.

As I note, this does not mean you can’t like it, and my primary issue is not with an occasional foray into that arena (as with the Bee Gees), but when your entire ouvre (as was the case with later Journey and all of “Starshit”, as contrasted with Jefferson Airplane/Starship) is pop garbage, well, you are pretty much the music equivalent of an 80yo hooker. X-S

You should have quit long long ago. Desperate to sell anything you can just to make a buck.

It’s even worse when you have a band with a real history of doing awesome stuff, like Jefferson Airplane.

Oh, and another band that went this route was Chicago. Great stuff in the 70s, by the 80s they were doing repetomusic. I suspect it transitioned when Terry Kath died in 1979. Plus they separated from their former producer, who may also have been a part of the quality of music coming out, though they felt he was taking financial advantage of them. I am not a sufficient fan of the band to take the trouble to do a deep analysis of which, or both, of those factors contributed to their essentially selling out completely.