John Howard – ‘The Howard Years’ – Australian Legacy

Is there ever a time in your life when you thought you were completely right, only to realise years – perhaps decades – later that your worldview and political understanding had been almost entirely inverted?

Well, the institution and the man that was John Howard, former Prime Minister of Australia, would be my biggest political turnaround.

I now consider him probably the greatest political figure of my lifetime – certainly the one I have come to admire most as I have grown older. With a bit of middle-aged hindsight, I can now better understand the legacy he left as Prime Minister.

Howard did some extraordinary things at a time when progressive and left-wing ideas were gaining an increasingly powerful hold over many institutions and workplaces. And I was one of their advocates.

To give you an idea of how caught up I was in politics at the time, I even exchanged emails with John Howard’s No. 1 nemesis during the 2004 election campaign, Australian Labor Party leader Mark Latham. I was genuinely humbled that he answered me, and I couldn’t help but get caught up in it all.

My father, whom I wrote about here, was a swing voter. When he began to sway towards Howard, I couldn’t believe my ears. At the time, I thought he had it completely wrong.

The video below is Part 1 of an extraordinary documentary in the years of Howard. I can’t tell you how much I’ve come back to it. And look, it has garnered just 31mil views, yet everything in it is the most amazing testament of few mostly men, doing the most extraordinary thing and everything counter reactionary to the Public.

Looking back on everything in my life, if I could somehow return to those years with the perspective and sobriety, I would love to have been among those people. Yes, they were politicians, and giving lollies to babies symbolically and all that! But I remain amazed by Howard’s ability, time and again, to convince his own Cabinet that they had to do what he believed was right – however unpopular it might be.

As I write this, I am watching John Anderson, Howard’s former deputy prime minister for much of the Howard government, still conducting enlightening interviews with people whose views often challenge the popular consensus. There is still hope.

And there is absolutely no way my twenty-something-year-old self would have given any of this the slightest bit of credence.

That’s how life goes, I suppose.

I hope you enjoy The Howard Years. It is one of the most fascinating political documentaries I have ever watched, and in my view, one of the most underrated accounts of modern Australian political history.

Golly, did Howard get a lot of things right. Not everything, of course. I believe he got it wrong when it came to not apologising to the Stolen Generations. But no one’s perfect, and that was a pretty big blunder.

Tagged with: , ,
Posted in politics

Wild At Heart – Lana Del Rey

The modern Americana music queen is back with the stirring and soulful escapism of Wild at Heart from her seventh studio album, Chemtrails over the Country Club, released in 2021. The album is steeped in country folk and Americana, and has one of the most irrepressibly charming and glamorous album covers I have ever seen.

The cover (above right) shows Del Rey (fifth from the right) with a number of her female friends, who also appear in the music video for the album’s lead single, Let Me Love You Like A Woman, yet another song by her I should add here. You see, I only came across Lana’s music a few years ago after a fellow blogger and huge Lana fan recommended songs by her, including today’s song, and I’ve been a fan ever since.

In Wild at Heart, Lana explores her desire for freedom and her need to be accepted for her wild nature, while also expressing her devotion to her lover. I’m wild about it as well, and when Lana sings, “If you love me, you’ll love me,” I can’t help but be slingshot back each time to If I Were a Carpenter and Bobby Darin’s famous version of it when he sings, “Would you marry me anyway?” I’d be curious to know if anyone else made that connection when they heard Wild at Heart.

Anyway, this song once again showcases her melancholic beauty and her ability to capture a cinematic sound which conjures wide, desolate Americana images. It feels like driving through an American desert in joyous abandon when I hear it. Lana weaves an atmosphere that’s both intimate and vast in her music, and that’s on full display in Wild at Heart. It all feels utterly original.

According to Genius Lyrics, the song title might be a reference to David Lynch’s 1990 cult classic film Wild at Heart, which featured a song I covered here just two days ago, Chris Isaak’s Wicked Game. Lana and Lynch have expressed mutual appreciation for each other in the media as well.

On July 30th, 2019, Lana shared a necklace she had made via Twitter, alluding to the title of the song. It included the coordinates of LA on the front and Wild at Heart on the back.

“I made this necklace last week at xiv karats and I’m so proud of it! coordinates of la on the front
Wild at heart on the back.”

— Lana Del Rey


Wikipedia:

Chemtrails over the Country Club received widespread acclaim from music critics, with many comparing its sound to its predecessor Norman Fucking Rockwell!. The album debuted at number one in eight countries, including the United Kingdom, becoming Del Rey’s fifth number one album there. It reached the top five in twenty countries, including the United States, where it peaked at number two on the Billboard 200, becoming Del Rey’s sixth consecutive top-five album in the country.

What would you do if I told you
You made me crazy
To see your pretty pics on Sunset Boulevard?
And it makes me lazy
So I smoke cigarettes
Just to understand the smog


I love you lots like polka dots
You’re killing me more
Than coffee pots and Insta thots
With every drop I pour
And if I had to do it all again
I would because, babe, in the end
It brought me here to you


I left Calabasas, escaped all the ashes, ran into the dark
And it made me wild, wild, wild at heart
The cameras have flashes, they cause the car crashes
But I’m not a star
If you love me, you’ll love me
‘Cause I’m wild, wild at heart
If they love me, they’ll love me
‘Cause I’m wild, wild at heart


What would you do if I wouldn’t sing for them no more?
Like if you heard I was out in the bars drinkin’ Jack and Coke
Going crazy for anyone who would listen to my stories, babe?
Time after time, I think about leaving
But you know that I never do, just ’cause you keep me believin’


I love you lots, despite the odds
You’re killing me, Joe
And all these thoughts brought us apart
And that’s okay, too
‘Cause even in the worst of times
You saw the best of me
And that’s why I stay here with you


I left Calabasas, escaped all the ashes, ran into the dark
And it made me wild, wild, wild at heart
The cameras have flashes, they cause the car crashes
But I’m not a star
If you love me, you’ll love me
‘Cause I’m wild, wild at heart
If you love me, you’ll love me
‘Cause I’m wild, wild at heart


‘Cause, baby, I’m wild at heart
If you love me, you’ll love me
‘Cause I’m wild at heart
Baby, I’m wild, wild at heart
If they love me, they’ll love me
‘Cause I’m wild, wild at heart
If they love me, they’ll love me
‘Cause I’m wild, wild at heart

References:
1. Chemtrails over the Country Club – Wikipedia

Tagged with: , ,
Posted in Music

Wigwam – Bob Dylan

Bob Dylan’s 1970 album Self Portrait was disdained by almost all fans and critics, in large part because many of the songs were considered a farce and it seemed Bob wasn’t taking his songwriting seriously. What Bob was doing here was a long way removed from their little darling image of him as the prophet of their generation and pure folk hero. I get that – he had raised the bar, which is putting it mildly.

What most people didn’t get at the time – and the quote I like to refer to on occasion from Edward Norton, which astutely and deftly sums up Bob Dylan’s artistry – is the following:

There’s never been anybody who was more like, ‘Oh, you like what I’m doing? I’m gone. I’m over here. Like, enjoy. You’re gonna not like it because you like what I just did. Now where I’m going, you’re gonna be discombobulated and upset, and eventually you’re gonna catch up. And then when you catch up, I’m gonna move on to something else… He was so punk rock.’”

So when Dylan did songs on Self Portrait like All the Tired Horses, which repeats the same lyric over and over, and today’s featured track Wigwam, which contains variations on Da da dah da da de throughout, people might have frowned upon them, not unlike that fan’s scathing reaction after Dylan’s concert in ’66: “like he is crawling through the bloody gutter, just making a pile out of it. Yeah, he’s making a pile out of people…”

Though I didn’t live through those specific times when he confused the heck out of regular Bob listeners, I can say I enjoyed the heck out of these two aforementioned tracks from Self Portrait when I eventually got to hear them. Further to that, my appreciation of them has only grown over time, which of course is a frequent perk with a lot of his music. Also, his changing the modus operandi from one record to the next is part and parcel of the Bob Dylan package.

I also get a real kick out of when Wigwam appears in one of my favourite Wes Anderson movies, The Royal Tenenbaums. The whole soundtrack is peculiarly marvellous, and each song just enhances the tone and feeling of the movie. There’s something about the use of Wigwam here which gets me every time. The song in general displays Dylan’s uncanny ability to be so melodious and versatile. There’s also an underlying sense of conviction and meaning beneath its simplicity.

What I never realised about Wigwam until researching it here is that it was a hit single, reaching the Top 10 in many countries around the world, including Belgium, Denmark, France, Malaysia, the Netherlands, Singapore and Switzerland. It was a Top 40 hit in Canada and Germany and reached No. 41 on the US Billboard chart.

A wigwam, literally, is a traditional dwelling associated with some Indigenous peoples of North America. Dylan had already used wigwam as a phrase in his songwriting. During the Blonde on Blonde sessions, an early working title for what became “Pledging My Time” was “What Can You Do for My Wigwam?”, which might suggest the word was part of Dylan’s private vocabulary or songwriting imagination rather than necessarily having a specific symbolic meaning.

References:
1. Wigwam (Bob Dylan song) – Wikipedia

Tagged with: , ,
Posted in Music

Wicked Game – Chris Isaak

Wicked Game is such a sultry and sensual song that it’s hard not to be swept away by the romantic mood it evokes. It impressively captures the intoxicating effect of being in love, both lyrically and musically. But ironically, it’s ultimately about heartbreak and pain – And I never dreamed that I’d lose somebody like you. You definitely sense the pain and longing of a broken love that he even resigns himself to – No, I don’t wanna fall in love (This world is only gonna break your heart). Bizarrely, it seems like a song one could play at both a wedding and a divorce.

While the song is about love lost, the ingenuity of it is the atmosphere it creates. You sense the passion and intensity of the relationship as if it places you right there as the listener. Moreover, it can remind people of someone they once cared about, moments that didn’t last but still linger. It’s not just a song about love; it’s about what’s left behind when it fades.

It’s just so hauntingly immersive, and its country-flavoured sound gives the song a rugged and moody tone that only enhances its intimacy and story. The aesthetics and grainy look of the black-and-white video complements it pretty well, even if it does look like one long commercial for a cologne. Funny enough, the song has featured in commercials as well as many films and television series.

Wikipedia:

The video features supermodel Helena Christensen rolling and frolicking on the beach with Isaak. In 2002, Rolling Stone magazine ranked it at No. 1 on its list of “The 30 Sexiest Music Videos of All Time“.

Although it (Wicked Game) is often interpreted as a ballad about unrequited love, Chris Isaak has said that the song was inspired by a late-night telephone call from a woman offering to come over, and is about “what happens when you have a strong attraction to people that aren’t necessarily good for you“. It was written shortly after the call.


There are few songs I remember being as widely played on pop radio for so many years as this one, but surprisingly, this now universally recognised song received little attention at the time of its release in 1989.

David Lynch featured it in his 1990 film Wild at Heart. Lee Chesnut, a music director at an Atlanta radio station who loved David Lynch films, began playing it after seeing the movie. The song quickly became a major hit, reaching No. 6 on the US Billboard Hot 100 in March 1991.

[Pre-Chorus]
The world was on fire, and no one could save me but you
It’s strange what desire will make foolish people do
I never dreamed that I’d meet somebody like you
And I never dreamed that I’d lose somebody like you

[Chorus]
No, I don’t wanna fall in love (This world is only gonna break your heart)
No, I don’t wanna fall in love (This world is only gonna break your heart)
With you (With you)
(This world is only gonna break your heart)

[Verse]
What a wicked game to play
To make me feel this way
What a wicked thing to do
To let me dream of you
What a wicked thing to say
You never felt this way
What a wicked thing to do
To make me dream of you

[Chorus]
And I don’t wanna fall in love (This world is only gonna break your heart)
No, I don’t wanna fall in love (This world is only gonna break your heart)
With you

[Pre-Chorus]
The world was on fire, and no one could save me but you
It’s strange what desire will make foolish people do
I never dreamed that I’d love somebody like you
And I never dreamed that I’d lose somebody like you

[Chorus]
No, I don’t wanna fall in love (This world is only gonna break your heart)
No, I don’t wanna fall in love (This world is only gonna break your heart)
With you (With you)
(This world is only gonna break your heart)
No, I— (This world is only gonna break your heart)
(This world is only gonna break your heart)

[Outro]
Nobody loves no one

References:
1. Wicked Game – Wikipedia

Tagged with: , ,
Posted in Music

Why Worry – Dire Straits

This restrained, atmospheric track from the stellar guitar rock band Dire Straits was sweet, tender music to my young ears. Along with the album’s title track, Brothers in Arms, it would signpost where Mark Knopfler was later headed with his soundtrack albums and solo career.

The 1985 album was immense, becoming the first album to sell one million copies on CD. Brothers in Arms also spent a total of 14 non-consecutive weeks at number one on the UK Albums Chart.

Why Worry is a beautifully crafted song that includes a long, soft and meandering guitar instrumental outro. In a 1989 BBC interview, Knopfler later admitted that he felt the extended four-minute instrumental outro was “pointless faffing around with pretty sounds.” Though I think many fans would disagree, as its tranquil, stress-relieving quality is a big part of the song’s appeal. Why Worry was written by Mark as a poetic message of comfort to a loved one facing difficult times.

The song has some pretty intricate finger-picked guitar work. I love the descending piano interludes throughout. It’s such a serene, lullaby-like ballad, with a melody reminiscent of the Everly Brothers, who were among Knopfler’s own musical idols. They even covered it on their 1985 album Born Yesterday.

As one astute listener commented below about Why Worry:

“Knopfler is living proof that the greatest guitarists in the world don’t need to shred at 100 mph! They can touch your heartstrings and your soul slowly and gently.”

[Verse 1]
Baby, I see this world has made you sad
Some people can be bad
The things they do, the things they say
But baby, I’ll wipe away those bitter tears
I’ll chase away those restless fears
That turn your blue skies into grey

[Chorus]
Why worry? There should be laughter after pain
There should be sunshine after rain
These things have always been the same
So why worry now?
Why worry now?

[Verse 2]
Baby, when I get down, I turn to you
And you make sense of what I do
I know it isn’t hard to say
But baby, just when this world seems mean and cold
Our love comes shining red and gold
And all the rest is by the way

[Chorus]
Why worry? There should be laughter after pain
There should be sunshine after rain
These things have always been the same
So why worry now?
Why worry now?

References:
1. Brothers in Arms (album) – Wikipedia

Tagged with: , , ,
Posted in Music

Who Do You Love – Ronnie Hawkins & The Band

I’m telling this chick … how bad I am, so she can go tell the cat she’s hanging with, “this dude is something else.” That’s what it kinda meant, cat ridin’ rattlesnakes and kissin’ boa constrictors and stuff

– Bo Diddley

This sizzling rockabilly number, written in 1956 by American rock and roll pioneer Bo Diddley, opened The Last Waltz concert. The Band were going back to their roots, acknowledging their humble beginnings with Ronnie Hawkins. Between 1958 and 1963, the group were known as the Hawks and served as the backing band for Hawkins, who was based in Toronto, Ontario. In the mid-1960s, they gained recognition for backing Bob Dylan on his controversial 1966 concert tour as his first electric band. 

Nearly every performance from that legendary concert has featured on this blog, and thanks be to Martin Scorsese, who captured the spectacle in all its glory. You shudder to think of a music world in which the Band’s farewell concert had not been recorded on film. The Last Waltz signs and seals the Band’s enormous legacy in Americana and folk rock, and their place among the performers within those musical worlds.

Who Do You Love? is such an upbeat rocker, and it’s masterfully delivered here by Ronnie and the Band in all its rich, gritty and entertaining detail. Amazingly, the song was part of Bo Diddley’s repertoire throughout his career, but none of his various recordings reached the record charts. Bo Diddley got the inspiration from the song in Kansas City where he heard a group of children trying to out-brag one another using a particular rhythm.

Ronnie Hawkins performed “Who Do You Love?” during live engagements as early as the late 1950s. It was released as a single with the title “Who Do You Love” backed with “Bo Diddley. Although the single only lists the artist as “Ronnie Hawkins”, he was backed by his band the Hawks. Robbie Robertson’s guitar playing was noted by several music writers, one noting it “a good few years ahead of its time in its manic distorted intensity“.

Hawkins’ single was a hit in Canada, but except near the border in the Great Lakes area, the record was largely unnoticed and did not appear on the US Billboard charts.

“demanding an ebullient, loose, insistent, repetitive groove, with roots in Southern, rural culture”

– Band biographer Neil Minturn on Who Do You Love

I walk 47 miles of barbed wire
I use a cobra-snake for a necktie
I got a brand new house on the roadside
Made from rattlesnake hide
I got a brand new chimney made on top
Made out of a human skull
Now come on take a walk with me, child
And tell me, who do you love?

Who do you love?
Who do you love?
Who do you love?
Who do you love?

Tombstone hand and a graveyard mine
Just 22 and I don’t mind dying

Who do you love?
Who do you love?
Who do you love?
Who do you love?

I rode around the town, use a rattlesnake whip
Take it easy child, don’t give me no lip

Who do you love?
Who do you love?
Who do you love?
Who do you love?

Night was dark, but the sky was blue
Down the alley, the ice-wagon flew
Heard a bump, and somebody screamed
You should have heard just what I seen

Who do you love?
Who do you love?
Who do you love?
Who do you love?

Arlene took me by my hand
And she said ooowee boy, you know I understand

Who do you love?
Who do you love?
Who do you love?
Who do you love?

References:
1. Who Do You Love? (Bo Diddley song) – Wikipedia

Tagged with: , , ,
Posted in Music

Who By Fire – Leonard Cohen

Who By Fire is about as solemn and spiritual as you are ever likely to hear from Leonard Cohen, and given his propensity for heavily laden lyrics of religious significance, you know I am not beating around the bush when I say that. I have always found it to have the feel of a meditative, transcendental chant that just flows right through you as if it were ‘water’ in song.

The opening line – And who by fire, who by water – immediately shows how the divine can seem to pervade the natural world, even down to our very skins. It is taken from the Unetanneh Tokef prayer, where fire, water and other forces are part of the larger question of how human beings may die.
Now, if that doesn’t get your song juices flowing! This is like Blowin’ in the Wind for grown-ups.

Most of the following was abridged from the two references shown at the end of this article. If there was ever a song that required background detail, then Who By Fire surely sits at the top of the list, and it is important to get it right:

The song was written after Cohen’s improvised concerts for Israeli soldiers in the Sinai Peninsula during the Yom Kippur War which you see him doing in the image above. On October 6, 1973, the Yom Kippur War started when an Arab coalition led by Egypt and Syria, launched a surprise attack on the Jewish holy day of Yom Kippur.

Amid high fatalities among Israeli soldiers and a sense of despair in the country, Cohen arrived in the country to perform on the battlefield in the Sinai Peninsula for small groups of soldiers. He said: “I am joining my brothers fighting in the desert,” adding “I don’t care if their war is just or not. I know only that war is cruel, that it leaves bones, blood and ugly stains on the holy soil.”

The song was included on Cohen’s 1974 album New Skin for the Old Ceremony, his fourth studio album. The original cover art you see was an image from the alchemical text Rosarium philosophorum. The two winged and crowned beings in sexual embrace caused his U.S. record label, Columbia Records, to print one early edition of the album minus the image substituting instead a photo of Cohen.

Who By Fire is rooted in Cohen’s Jewish background and features backing vocals from American singer Janis Ian. It is adapted loosely from the Hebrew prayer “ונתנה תוקף קדושת היום” [“U’Netaneh Tokef Kedushat Hayom” (“Let Us Tell How Utterly Holy This Day Is”)], chanted on Yom Kippur.

According to a Jewish legend, Rabbi Amnon of Mainz was punished for refusing to convert to Christianity by having his limbs cut off. Dying from his wounds, he was taken to the synagogue, where he recited the Unetanneh Tokef prayer, which includes the words “Who by fire and who by water?” before he died.

Like the original, Cohen’s song tells of a litany of ways and reasons one might meet their death: fire, water, suicide, drugs, and so on-some of which appear in the original prayer.

The prayer that inspired Cohen reads, in part:

On Rosh Hashanah will be inscribed and on Yom Kippur will be sealed how many will pass from the earth and how many will be created; who will live and who will die; who will die at his predestined time and who before his time; who by water and who by fire…

Cohen took this ancient litany of mortality and transformed it into his own unsettling meditation on death, fate and uncertainty.

[Verse 1]
And who by fire, who by water
Who in the sunshine, who in the night time
Who by high ordeal, who by common trial
Who in your merry merry month of May
Who by very slow decay
And who shall I say is calling?

[Verse 2]
And who in her lonely slip, who by barbiturate
Who in these realms of love, who by something blunt
And who by avalanche, who by powder
Who for his greed, who for his hunger
And who shall I say is calling?

[Verse 3]
And who by brave assent, who by accident
Who in solitude, who in this mirror
Who by his lady’s command, who by his own hand
Who in mortal chains, who in power
And who shall I say is calling?

References:
1. Who By Fire – Genius Lyrics
2. Who By Fire (song) – Wikipedia

Tagged with: , ,
Posted in Music

Whitewash County – Elton John

This is one of Elton John’s most unheralded great latter-career songs. It’s got this irresistible groove and energy, and John is fantastic on the keys. It’s one of my favourite energetic, piano-driven tracks by him, with two great solos thrown in, and the one that wraps up the song is one of the finest piano passages I’ve heard in his vast catalogue.

I’m surprised Whitewash County wasn’t released as a single from The One (1992), which might partly explain its relative obscurity. The song emphasizes the piano sound of his early albums. On The One, he returned to playing an acoustic piano, using a Yamaha Disklavier, after the Roland RD-1000 digital piano had featured heavily on several of his previous albums.

It has a country, almost bluegrass, flavour, and it’s a great melody for his expressive voice too. Bernie Taupin’s lyrics are outstanding as well and complement the frenetic pacing of the music. It’s crafty too, as it combines an upbeat, driving tempo with dark, politically charged storytelling. I just love the lines:

Fans turning on the ceiling
I feel sticky as a chili dog

The song seems to critique the deceptive nature of power in a Southern setting, using metaphors such as ‘Whitewash County’ and ‘the devil in a suit’ to symbolize the struggle between truth and manipulation. On the official Elton John website, it states:

The final lines in the song Whitewash County (“Well you’ve changed your face so often / But you never change your mind”) refer to American white nationalist David Duke and his plastic surgery.


The One was John’s first album project since his rehabilitation from drug and alcohol addictions and bulimia in 1990. It was his biggest-selling album in the US since 1976. The album peaked at No. 8 on the Billboard 200 chart, where it remained for almost a year.

Verse

Tonight it′s hot down here
I can almost smell the rain
And I can almost taste the fear
Behind your name
Fans turning on the ceiling
I feel sticky as a chili dog
White boys howling in the evening
On that hollow log

Pre-chorus

Tall tales down the river
Say we aim to bury the truth
But the right hand just delivered
The devil in a suit

Chorus

And he talks big in Whitewash County
Talks sweet as sugar cane
Got a past that’s filled with lightning
Got a future filled with rain

Verse

Bug buzzing in an empty glass
Fiddle scratching some lazy tune
We′re just some place that history passed
New dust, new broom
And it’s a high hot buttered moon
He’s got a shiny new wax face
Swears the South′s gonna rise again soon
All over the place

Prechorus

Tall tales down the river
Say we aim to bury the truth
But the right hand just delivered
The devil in a suit

Chorus

And he talks big in Whitewash County
Talks sweet as sugar cane
Got a past that′s filled with lightning
Got a future filled with rain

And he talks big in Whitewash County
Talks sweet as sugar cane
Got a past that’s filled with lightning
Got a future filled with rain

Outro

Rain down on Whitewash County
Smell the air coming up the line
Well you′ve changed your face so often
But you never change your mind

References:
1. The One (Elton John song) – Wikipedia
2. ‘The One’ – 30 Facts for 30 Years – Elton John

Tagged with: , ,
Posted in Music

White Flag – Dido

(White Flag is) engaging to the extent that you could easily be humming along without it registering in your brain. There’s something unconscious, pleasantly innocuous about it. It’s comfort food for the ears.
– Derryck Strachan for BBC Music 

I like the cosy and warm sound in Dido’s music, and White Flag has it in spades. It’s just so sweet and unpretentious in its restrained electronic style, with subtle percussion and delicate piano and strings. Her airy and soothing voice is matched by her understated, girl-next-door looks and charm.

White Flag is her declaration of unfailing love for another. It’s her last bastion of hope in a floundering relationship, asserting that she is even willing to go down with her ship before giving up on that special someone in her heart.

There will be no white flag above my door
I’m in love and always will be


She admits that she was wrong and messed things up, but she is just craving one more chance. But where it gets even more complicated is that she accepts that if he lives by the rules of “It’s over”, and they do meet, she’ll hold her tongue and he’ll think she has moved on. Love can be a topsy-turvy thing, can’t it? But she ends with her pledge never to surrender and to remain dedicated to this love, even if it takes her down with it.

“That was about at the time of my ex-fiancée. We broke up and it is a classic heartbreak song.”Dido

White Flag was the lead single from her 2003 album Life for Rent. The song was a global hit, reaching No. 2 in the UK, No. 1 in Australia and a whole host of European countries, and No. 18 in the US.


[Verse 1]
I know you think that I shouldn’t still love you
I’ll tell you that
But if I didn’t say it, well, I’d still have felt it
Where’s the sense in that?
I promise I’m not trying to make your life harder
Or return to where we were

[Chorus]
But I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be

[Verse 2]
I know I left too much mess and destruction
To come back again
And I caused nothing but trouble
I understand if you can’t talk to me again
And if you live by the rules of “It’s over”
Then I’m sure that that makes sense

[Chorus]

[Bridge]
And when we meet
Which I’m sure we will
All that was there
Will be there still
I’ll let it pass
And hold my tongue
And you will think
That I’ve moved on

[Chorus]
I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be
I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be

[Outro]
I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be

References:
1. White Flag (Dido song) – Wikipedia

Tagged with: , ,
Posted in Music

The Story – Brandi Carlile

Brandi Carlile’s bandmate Phil Hanseroth wrote this song, and it became the title track of her 2007 album. I enjoy hearing it whenever it comes on my music player. It has lots of different guitar textures and, at times, reaches a cool heavier rock sound. You can tell the twin Hanseroth brothers had played in hard rock bands before joining Carlile.

The Story is a journey song with a healthy dose of love thrown in. It begins in a fairly gentle way before gradually building in intensity with each verse. It’s supposed to peak at 2:52 as Carlile virtually yells All of these lines across my face, and that scream-singing feels way overdone. It’s disappointing because the song carries so much passion and authenticity up until that moment, and that delivery definitely takes me out of it.

Besides that, I like Carlile’s rough and weathered voice here. It can sound strong and forceful one moment, then warm and tender the next. Carlile has cited Melissa Etheridge as a major influence, and you can hear that in her sound. Brandi Carlile’s music is generally categorized as Americana and folk rock. If you would like to read more about the song, I point you to this article: Inside the Song: “The Story” by Brandi Carlile.

The song was featured in Grey’s Anatomy in 2007 and was included in the 2011 musical episode Song Beneath the Song. The track was later covered by LeAnn Rimes and Dolly Parton. I really like Dolly’s beautifully tender version and I quickly added it to my collection. It gives Carlile’s original some serious run for its money. Do check out the background story at the end of this post on how Carlile reached out to Parton. Fun read.

The Story was recorded live to tape, with all the performers playing and singing at the same time rather than following the usual practice of recording parts separately and combining them later. It was produced by T Bone Burnett.

The song made only a modest impact on the charts, reaching No. 75 on the US Billboard Hot 100 and No. 44 in Australia. However, it did reach No. 1 in Portugal.


Background (Wikipedia):

When Carlile began planning to record a cover of her 2007 album, The Story, she said that her idol, Parton, was the only person she had in mind to record the title track. When Carlile wrote Parton asking her to record the track, she suggested Parton could drop the key to make it easier to sing. She later recalled the letter, saying it was “about the stupidest thing I think I’ve ever put down in writing.” Parton enthusically accepted the offer to record the song and in her hand-written response she told Carlile, “Honey, do me a favor. Don’t drop the key. I think I can handle it.” Upon hearing the completed recording, Carlile realized she had been one-upped, saying, “Every gratuitous and show-offy note that I hit in that song, Dolly hits it initially and then takes it higher. She just completely takes me to school.

[Verse 1]
All of these lines across my face
Tell you the story of who I am
So many stories of where I’ve been
And how I got to where I am

[Chorus]
But these stories don’t mean anything
When you’ve got no one to tell them to, it’s true
I was made for you

[Verse 2]
I climbed across the mountaintops
Swam all across the ocean blue
I crossed all the lines and I broke all the rules
But baby, I broke them all for you

[Chorus]
Oh, because even when I was flat broke
You made me feel like a million bucks, you do
I was made for you

[Verse 3]
You see the smile that’s on my mouth
It’s hiding the words that don’t come out
And all of our friends who think that I’m blessed
They don’t know my head is a mess

[Chorus]
No, they don’t know who I really am
And they don’t know what I’ve been through like you do
And I was made for you

[Breakdown]
All of these lines across my face
Tell you the story of who I am
So many stories of where I’ve been
And how I got to where I am

[Chorus]
Oh, but these stories don’t mean anything
When you’ve got no one to tell them to, it’s true
I was made for you

[Outro]
Oh yeah, well, it’s true
That I was made for you

References:
1. The Story (Brandi Carlile song) – Wikipedia
2. Inside the song: “The Story” by Brandi Carlile – Jeffrey Pepper Rodgers

Tagged with: , , ,
Posted in Music

Follow Blog via Email

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 776 other subscribers

← Back

Thank you for your response. ✨