The purpose of Chassidus is to bring the superiority of Creator to the attention of creation. Every creation. That is why I take pride in the observant Jewish performer who carries that message way out to creations with little awareness, using unique talents of metaphor, abstraction and mood.
The purpose of creation is to hold onto a nugget of truth and seek to crack it open, eat the meat and find the mine it rolled out of. That is why I do not condone the idea of Chassidim taking their Chassidus from abstract lyrics buried in the sets of wider-world performers.
This post is not about Hashiveinu. It's not about Shabbos Yerushalayim, the recording it appears on. It is not even about Miami Boys Choir. This post is all about Yerachmiel Begun. Because everything is, in the end, about Yerachmiel Begun.
This is the Lipa I love. Warm, sweet and blessful. Not an especially polished song, and nothing standout in terms of vocals, music or arrangements, but a beautiful melody with a wonderful lyrical flow. From Shema, 2000.
On Mondays and Thrusdays, we make a "Mi Sheberiach" at the Torah, praying for the complete and imminent recovery of those mentioned. Several requests are mentioned in the Mi shebeirach text: "bless the following people...restore them and strengthen them, heal them and enliven them...".
But on shabbos, we say simply "...bless the following people...it is Shabbos so we may not cry; the healing will come speedily. Amen!" On Shabbos, the healing is inherent; we may not and must not cry, but feel the healing.
This Yiddish song journeys along this premise:
It begins with a call-and-response between a father and his pained child. The father assures his child that he will heal soon; the child responds "I can't take it anymore!"
The chorus "Shabbos hee miliz'ok" tells how the day of Shabbos itself heals--the Refua is on the way!
The second half repeats the first, but now, the father is the child of Hashem who—channeling his Father in heaven—is reassured that the day of eternal Shabbos, complete healing and joy is imminent.
There is so little musically, vocally or philosophically redeeming about this persistent project to interjecterlaymonize Jewish songs that already contain strains of current pop with other current pop tunes seemingly selected by key association. This song in particular proves the point as the Pellas make such scarce use of the Mary Poppins song as to announce "This. Does. Not. Fit. But it does have similar composition and we wanted you to know."
Plus, what does this have to do with Sefiras Ha'omer?