Tonight, Tonight (1995) – The Smashing Pumpkins

Posted on March 3, 2026 by observationblogger — 8 Comments

This is the second song by The Smashing Pumpkins to feature here in fairly quick succession after Today – a happy quirk of the alphabetical order of song titles. Tonight, Tonight is a grand juggernaut of dreamy, celestial alternative rock. The song and its video are epic and feel like an odyssey. The music video was inspired by Georges Méliès’ 1902 silent film A Trip to the Moon. It shows a couple taking a trip to the moon, while the band performs the track as if floating in space.

The grand scope and symphonic string and drum elements of Tonight, Tonight mark a strong shift from the prototypical alt-rock grunge sound heard on their earlier album Siamese Dream. As Frontman and guitarist Billy Corgan sings, “In the resolute urgency of now” it pulls you into the present moment, and everything comes together in the chorus. The strings were recorded with members of the Chicago Symphony Orchestra. Corgan said that recording with a 30-piece string section for the song “was probably one of the most exciting recording experiences I have ever had.”

The song moves into quieter moments with just guitar and Corgan’s raspy, nasal voice, before returning to the sweeping strings and pounding drums, with Corgan crying out “Believe!” He has said the song is addressed to himself – a message to the child who survived an abusive upbringing – urging him to keep believing in himself. It is that contrast between the huge cinematic sound and the reflective passages that gives the song its power and emotional reach.

Tonight, Tonight was released as the fourth single from the Smashing Pumpkins third studio album Mellon Collie and the Infinite Sadness in 1995. The recording of Tonight, Tonight first began while the Pumpkins were still on the Siamese Dream tour.

Tonight, Tonight was critically acclaimed and commercially well-received upon its release. It reached No. 36 on the US Billboard, No. 7 in the UK, No 21 in Australia and No. 1 in Iceland.

[Verse 1]
Time is never time at all
You can never ever leave
Without leaving a piece of youth
And our lives are forever changed
We will never be the same
The more you change, the less you feel

[Pre-Chorus]
Believe, believe in me
Believe, believe

[Chorus]
That life can change, that you’re not stuck in vain
We’re not the same, we’re different
Tonight
Tonight, tonight, so bright
Tonight
Tonight

[Verse 2]
And you know you’re never sure
But you’re sure you could be right
If you held yourself up to the light
And the embers never fade
In your city by the lake
The place where you were born

[Pre-Chorus]
Believe, believe in me
Believe, believe

[Chorus]
In the resolute urgency of now
And if you believe there’s not a chance
Tonight
Tonight, tonight, so bright
Tonight
Tonight

[Bridge]
We’ll crucify the insincere tonight (Tonight)
We’ll make things right, we’ll feel it all tonight (Tonight)
We’ll find a way to offer up the night (Tonight)
The indescribable moments of your life (Tonight)
The impossible is possible tonight (Tonight)
Believe in me as I believe in you

[Outro]
Tonight
Tonight, tonight
Tonight
Tonight

References:
1. The 100 Greatest Music Videos – Rolling Stone
2. Tonight, Tonight (The Smashing Pumpkins song) – Wikipedia

Tagged with: , ,
Posted in Music

Piano Concerto No. 4, Op. 40 (1926) – Sergei Rachmaninoff

Posted on March 2, 2026 by observationblogger — 2 Comments

‘With enough patience this elder and wiser Rachmaninoff’ will start whispering to you’

– Ben Laude (Rachmaninoff’s 4th Concerto is Criminally Underrated)

Piano Concerto No. 4 in G minor, Op. 40 is a concerto for piano and orchestra by Russian composer Sergei Rachmaninoff, completed in 1926. With today’s Rach 4 (many people affectionately call Rachmaninoff “the Rach” for short), we complete the set of his four piano concertos on this blog.

Rachmaninoff’s No. 4 is the least well known and least well received of the four, but I consider the first movement in particular to be some of the most stunning, exuberant, and dramatic music from any piano concerto I have heard. In fact, I’m not the only one singing its praises. The video at the end of this article calls the Rach 4 his unsung masterpiece and says it is criminally underrated.

It’s striking that the first movement – Allegro vivace (G minor) – opens almost like a climax. Oddly enough, it begins with a bold, commanding statement from the piano, which can sound like the ending of one of his earlier concertos. In the video at the end of this post, pianists give examples to support their views on the piece, including the powerful opening piano theme. The music moves into some dark and unsettled places. Many listeners did not respond warmly to Rachmaninoff’s Fourth at its premiere, which disappointed him.

I should admit that I am not a great fan of the repetitive and sometimes sour-sounding second movement. Some listeners have asked: where is the sweeping romantic second theme we expect from Rachmaninoff? For example Piano Concerto 2, Movement. 2 is about the most romantic music I’ve ever heard.

If you listen to the Fourth with “Rach 2 or 3 ears,” you may feel a little disillusioned. As suggested in the documentary below, the music can seem to be searching for a clear identity. He wrote it after settling in the United States, during a time when he struggled with homesickness. Some hear this tension and restlessness running through the concerto.

It may be more of an acquired taste than his other concertos. But the more you listen, the more the music begins to make sense and reveal its character.

From Wikipedia:

Following its unsuccessful premiere (1st version), the composer made cuts and other amendments before publishing it in 1928 (2nd version). With continued lack of success, he withdrew the work, eventually revising and republishing it in 1941 (3rd version, most generally performed today). Many have noted Rachmaninoff’s inspiration from George Gershwin’s Rhapsody in Blue, a piece for piano and orchestra completed in 1924, only three years before Rachmaninoff finished his own.

References:
1. Piano Concerto No. 4 (Rachmaninoff) – Wikipedia

Tagged with: ,
Posted in Music

Tonight, I’ll Be Staying Here With You (1969) – Bob Dylan

Posted on March 1, 2026 by observationblogger — 8 Comments

I came to this song via the live 1975 Rolling Thunder Revue version in Montreal, but having heard the original studio version again from the Nashville Skyline record, I am quite taken with it as well. The two versions and Dylan’s interpretation on both couldn’t be more stark – each is nearly unrecognisable from the other – that’s Bob Dylan for you!

On Rolling Thunder he’s got that hoarse, shout-singing voice. On Nashville Skyline he’s got a soft, affected country croon. Instrumentally they are just as far removed, with the uptempo rock-edged arrangement on Rolling Thunder and then the warm, mellow country sound on Nashville Skyline.

I imagine when I heard the later Rolling Thunder Revue version that I hadn’t associated it with the original release, which I had heard years before. If there’s one thing that can frustrate fans at Dylan’s live concerts, it is how his reinvented versions are almost unrecognisable from the originals that fans are used to. So as he begins a song, many are left baffled about which one from his collection he is singing. If a given fan hasn’t heard their fair share of concert bootlegs, then when it comes time to attend your first Dylan concert, you could feel like a fish out of water. It’s not like a Rolling Stones concert (who tour once in a while, unlike our never-ending tour Bob), where they play their biggest hits and they sound just like the studio versions.

Personally, that’s what I find endearing about Bob’s music, and one of his best attributes is how he is able to transform and reconfigure his songs into something new. No two performances are ever quite the same, keeping the song fresh and enigmatic. Over the years, Dylan modifies verses, swaps lines, or emphasizes different parts of the lyrics depending on the mood of the performance. Dylan’s chameleon-like approach ensures his songs remain living, evolving pieces of art rather than static historical records.

For further information about Bob Dylan bootlegs, I point you to a project I initiated in 2014 on the Bob Dylan Expecting Rain – Rare Recordings forum, which entailed compiling Bob Dylan’s greatest live recordings that members felt surpassed their originals. I called it Dylan’s Desert Island Revue. The aim was: “If you were stuck on a desert island, is there an unreleased live recording of a song that you would want, or could happily live with, in place of the official studio version (or official bootleg)?” Over two months and 89 nominations later, you can find in the previous link the Dylan’s Desert Island Revue (DDIR) compilation.

Now finally on to today’s featured track – Tonight, I’ll Be Staying Here With You. The song expresses Dylan’s devotion to his lover and his willingness to stay with her. Dylan was off somewhere, had his tickets ready and his suitcase packed, but such is his desire to be with his dearest that he’s throwing all of that aside to spend the night by her side. He sounds pretty desperate, but her love comes on so strong that he feels he has no other choice than to give everything up for just another night with her.

He says – in no uncertain terms – that he’s under her spell, foretelling a future song (a brilliant one, by the way) by that name on the maligned 1986 Knocked Out Loaded record. In the Revue version below you can sense that desperation in his voice and the edgy music. It ends so romantically, as seen below, and the implication of the song is that the singer is willing to stay permanently and become a family man.

I can hear that whistle blowin’
I see that stationmaster too
If there’s a poor boy on the street
Then let him have my seat
‘Cause tonight I’ll be staying here with you

The following was abridged from the Wikipedia article below:

Tonight, I’ll Be Staying Here With You is the closing song of the album. The song was the third single released from the album, after I Threw It All Away and Lay Lady Lay, reaching No. 50 on the US Billboard, and reaching the top 20 in other countries…
“Tonight I’ll Be Staying Here with You” was written over two days at the Ramada Inn where Dylan was staying, and recorded over 11 takes on February 17.

Dylan did not play “Tonight I’ll Be Staying Here with You” live in concert until the Rolling Thunder Revue tours in 1975 and 1976, and it was not played live again until February 1990 on the Neverending Tour.

[Verse 1]
Throw my ticket out the window
Throw my suitcase out there, too
Throw my troubles out the door
I don’t need them anymore
‘Cause tonight I’ll be staying here with you

[Verse 2]
I should have left this town this morning
But it was more than I could do
Oh, your love comes on so strong
And I’ve waited all day long
For tonight when I’ll be staying here with you

[Bridge]
Is it really any wonder
The love that a stranger might receive?
You cast your spell and I went under
I find it so difficult to leave

[Verse 3]
I can hear that whistle blowin’
I see that stationmaster too
If there’s a poor boy on the street
Then let him have my seat
‘Cause tonight I’ll be staying here with you

References:
1. Tonight I’ll Be Staying Here with You – Wikipedia

Tagged with: , ,
Posted in Music

Mrs. Robinson (1968) – Simon & Garfunkel

Posted on February 28, 2026 by observationblogger — 8 Comments

One of Simon & Garfunkel’s most popular tunes comes to us today: Mrs. Robinson. It’s known in pop culture largely for its use in The Graduate, which featured a monumental Simon & Garfunkel soundtrack, including other great songs like The Sound of Silence, Scarborough Fair and April Come She Will. Unlike those restrained, pensive, harmony-soaked tracks, Mrs. Robinson is a curious, unorthodox, upbeat, and rollicking number.

The following was abridged from the Wikipedia article below:

The song was released on the duo’s fourth studio album bookends. It was only meanwhile Mike Nichols was shooting The Graduate that he became fascinated with two of the duo’s songs. He met with Columbia records to ask permission to use Simon & Garfunkel music for his film. They agreed and envisioned it being a best-selling soundtrack album.

Simon was initially not so keen, viewing movies as akin to “selling out”, but he agreed to write at least one or two new songs for the film after being impressed by Nichols’ wit and the script. Eventually a deal was negotiated that paid Simon $25,000 to submit three songs to Nichols. Simon reemerged with  Punky’s Dilemma and Overs, neither of which Nichols was particularly taken with.

So later they returned with a early draft of Mrs. Robinson only singing dee de dee dee de dee dee dee because there was no verse yet, but Nichols liked even that. Before that they had it as a working title of “Mrs. Roosevelt” (Eleanor Roosevelt). And because of the character in the picture they just began using the name ‘Mrs. Robinson’ to fit. 

The recording was released more than three months after the release of The Graduate, but through its numerous radio plays became an important cross-promotion of the film during its initial run in theaters. Mrs. Robinson became the duo’s second chart-topper (after The Sound of Silence in 1966), reaching No. 1 on the Billboard, as well as peaking within the top 10 of the United Kingdom.

For trivia buffs out there:
Simon was a big Mickey Mantle fan and when asked by Dick Cavette why he chose Joe DiMaggio in the last verse, he said – “It’s about syllables, Dick. It’s about how many beats there are“.

Simon met up with Joe Di Maggio in a New York City restaurant in 1970 and Joe asked him – “What I don’t understand, is why you ask where I’ve gone?“…Simon replied “that I didn’t mean the lines literally, that I thought of him as an American hero and that genuine heroes were in short supply. He accepted the explanation and thanked me. We shook hands and said good night“.

Following DiMaggio’s death in 1999, numerous media outlets ran headlines stating: “Joltin’ Joe has left and gone away.”
Simon subsequently performed “Mrs. Robinson” at Yankee Stadium in DiMaggio’s honor (leaving out the second verse).

[Intro]
Dee dee dee dee dee dee dee dee dee dee dee dee dee
Doo doo doo doo doo doo doo doo doo
Dee dee dee dee dee dee dee dee dee dee dee dee dee

[Chorus]
And here’s to you, Mrs. Robinson
Jesus loves you more than you will know
Woah, woah, woah
God bless you please, Mrs. Robinson
Heaven holds a place for those who pray
Hey, hey, hey
Hey, hey, hey

[Verse 1]
We’d like to know a little bit about you for our files
We’d like to help you learn to help yourself
Look around you, all you see are sympathetic eyes
Stroll around the grounds until you feel at home

[Chorus]

[Verse 2]
Hide it in a hiding place where no one ever goes
Put it in your pantry with your cupcakes
It’s a little secret, just the Robinsons’ affair
Most of all, you’ve got to hide it from the kids

[Chorus]

[Verse 3]
Sitting on a sofa on a Sunday afternoon
Going to the candidates debate
Laugh about it, shout about it
When you’ve got to choose
Every way you look at it, you lose

[Chorus]
Where have you gone, Joe DiMaggio?
A nation turns its lonely eyes to you
Woo, woo, woo
What’s that you say, Mrs. Robinson?
Joltin’ Joe has left and gone away
Hey, hey, hey
Hey, hey, hey

References:
1. Mrs. Robinson – Wikipedia

Tagged with: , , , ,
Posted in Music

Land Ho! (2014) – Martha Stephens and Aaron Katz (Friday’s Finest)

Posted on February 27, 2026 by observationblogger — Leave a comment

You might have seen those “bucket list” movies where ageing stars team up to tick off lifelong dreams and get into a bit of mischief along the way. You know the type – pleasant, sentimental, and fairly predictable.

Now we come to Land Ho!, which shares a similar idea trying to reclaim a sense of youth. But the actors here are hardly household names, and nothing they do is especially extravagant or wild. It’s simply two former brothers-in-law vacationing in Iceland. When I first started watching it, I thought it was a travel documentary. The realism, the small details in their behaviour, and the improvisational feel make it hard to tell where performance begins and ends. They visit Reykjavík nightclubs, soak in thermal baths, explore rugged campsites – and yes, they even share a puff of weed.

Principal photography took just 16 days in Iceland. Naturally, the cinematography is stunning – it is Iceland, after all. You could almost just point and shoot. It was shot on two Red One cameras to better capture natural reactions, edited in six weeks, and remarkably, only one year and three days passed between its conception and its premiere at Sundance.

As the film unfolds, you become quietly immersed in their “quest” – though what that quest is exactly remains unclear. That’s part of the charm. There’s no grand objective, no dramatic destination. It’s simply about living and companionship.

What I appreciated most was the contrast between the two men: one, a loud, bawdy, free-spending American surgeon; the other, a quieter and more reserved Australian. But that simplification shouldn’t suggest they are stereotypes. Far from it. This is a character-rich story. As critic Glenn Kenny wrote in his review for RogerEbert.com, there’s “character driven,” and then there’s “CHARACTER driven.” That sums it up.

The filmmakers don’t force us to either love or dislike these men. They have flaws, irritations, warmth, and vulnerability – just like anyone. They don’t behave as if they are trying to impress anyone. Their chemistry feels genuine, and the message they convey is subtle but touching. This is a refreshingly unsuperficial film.

One of the most intriguing turns in the story comes when the men meet two young, independent women during their travels. The encounter makes the older men playful and hopeful. You feel for the women too, wondering how they will respond to this unexpected attention. It’s a delicate dynamic, handled with restraint and charm. The interactions are nuanced and gently comic, reflecting the spirit of the entire film. As Manohla Dargis of The New York Times observed, the film offers a portrait of men who are gloriously alive and who just happen to be old.

The movie wasn’t especially well received by general audiences, earning a modest 6.0 on IMDb and 54% on Rotten Tomatoes. Critics, however, were far more positive, with 82% on Rotten Tomatoes and a strong 3.5 out of 4 in the Roger Ebert review below. I fall firmly in the critics’ camp on this one. Is it a must-see masterpiece? No, not at all. But it is a refreshing and quietly funny adventure-comedy for mature audiences – and I got a real kick out of it.
The film won the John Cassavetes Award for Best Feature under $500,000 at the 2015 Independent Spirit Awards.

Thanks for reading.

References:
1. Land Ho! – Roger Ebert
2. Land Ho! – IMDB
3. Land Ho! – Wikipedia

Tagged with: , , ,
Posted in Movies and TV

Tougher Than the Rest (1988) – Bruce Springsteen

Posted on February 26, 2026 by observationblogger — Leave a comment

I remember owning that cassette single above as a 13-year-old. Gee, I wore it out, since I was such a huge fan of this song. I also remember watching the official video on Saturday mornings, catching the Top 40 on Rage in Australia. Despite those strong memories, the single only reached No. 35 in Australia. Bizarrely, it wasn’t released as a single in the US and has never been one of his most popular songs there. In Europe, however, Tougher Than the Rest remains one of Springsteen’s most beloved tracks and charted strongly in several countries, including the UK.

Bruce Springsteen had not previously explored country influences so clearly as he did on Tunnel of Love, which at the time was one of the most highly anticipated albums in contemporary rock. Coming off one of the biggest-selling albums of all time, Born in the U.S.A., expectations were sky-high for Tunnel of Love.

When it became clear that Bruce had shifted away from the power rock anthems of Born in the U.S.A. toward a more introspective and restrained sound, the reaction was more mixed than before. The album seemed to reflect the breakdown of his short-lived marriage to model and actress Julianne Phillips.

The record included sombre and reflective songs like Brilliant Disguise, the title track Tunnel of Love, One Step Up, Cautious Man, and Walk Like a Man. The latter two, in particular, echoed the stripped-back storytelling and introspection of Nebraska.

Now back to today’s featured track – Tougher Than the Rest. More than any other song on the album, it suggested a turning point for Bruce after his personal struggles and divorce in 1988. It also became closely linked to Patti Scialfa, his future and now longtime wife, especially through their duet performances on tour. The chemistry between them on stage was clear. Both seemed to be stepping out of past relationships and into something new.

The song opens with a moody and heavy drum entrance before that wiry, winding guitar line moves through the track. My favourite part is that lingering, curling guitar which gives the song a grainy country tone. The studio version is more keyboard-driven and does not feature the aforementioned guitar sound heard in many live performances, like the official video below. Interestingly Tougher Than The Rest was originally written as a rockabilly song, but the final version has a slower and more methodical rhythm.

It’s a romantic, country-leaning love song with a gritty yet honest edge. You can hear the sincerity in their voices – the willingness to stand firm and prove that his love can last. When Bruce and Patti look at each other during live performances, it’s hard not to feel the emotion. They stand there in front of the world, pledging lasting love – and nearly four decades after its release in 1987, that promise appears to have endured.

The video is pretty cool too. It features Bruce and Patti singing to each other and is interspersed with highlights from his live shows. I like how it begins by showing real-life couples and then cuts to other couples throughout.


[Verse 1]
Well, it’s Saturday night
You’re all dressed up in blue
I been watching you a while
Maybe you been watching me, too
So somebody ran out
Left somebody’s heart in a mess
Well, if you’re looking for love
Honey, I’m tougher than the rest

[Verse 2]
Some girls, they want a handsome Dan
Or some good-lookin’ Joe
On their arm, some girls
Like a sweet-talkin’ Romeo
Well, ’round here, baby
I learned you get what you can get
So if you’re rough enough for love
Honey, I’m tougher than the rest

[Bridge]
The road is dark and it’s a thin, thin line
But I want you to know I’ll walk it for you any time
Maybe your other boyfriends couldn’t pass the test
Well, if you’re rough and ready for love
Honey, I’m tougher than the rest

[Verse 3]
Well, it ain’t no secret
I’ve been around a time or two
Well, I don’t know, baby
Maybe you’ve been around too
Well, there’s another dance
All you gotta do is say yes
And if you’re rough and ready for love
Honey, I’m tougher than the rest

[Refrain]
If you’re rough enough for love
Baby, I’m tougher than the rest

References:
1. Tougher Than the Rest – Bruce Springsteen

Tagged with: , ,
Posted in Music

Flugmodus (2020) – Clueso

Posted on February 25, 2026 by observationblogger — 3 Comments
Clueso (left) with comedian Teddy Teclebrhan

One of the nicest surprises in my recent music journey has been finding more songs by German singer and rapper Clueso (Thomas Hübner). The more I hear, the more I enjoy. Almost every time I listen, I come across another track worth adding to my music library project.

The extent of my knowledge of the German language is confined to a semester of German in grade 5, which means I understand ‘diddly squat’. But that has not stopped me from enjoying these cool melodies, rhythmic groove and polished instrumentals. Clueso has so much natural music talent and he blends pop, hip-hop and singer-songwriter styles with ease. And from what you see in his live shows and videos, he carries himself with a youthful charm and a modest manner.

A friend who loves the German language and culture first introduced me to one of his songs in 2019. For anyone new to Clueso, a great place to start is his Live Summer Tour 2024 in Berlin, where the sound, full band, and open-air atmosphere create something special. It’s top-notch quality. Also the setting – stage at dusk, with thousands of voices singing along, adds real magic to the songs.

Today’s featured track, Flugmodus (“Flight Mode”), is a relaxed, rap / hip-hop-leaning song with a smooth and laid-back beat, but it’s pretty bouncy and animated too. In the video Clueso is just kind of hanging-out, having fun with his partner in crime who is comedian Teddy Teclebrhan. They are enjoying a luxurious lifestyle at the property of a man they have taken captive in his own home. It’s a great little short film put to music – a bit crazy, but harmless fun and all ends well. You definitely don’t need to understand German to follow the story – that’s for sure.

Lyrically, Clueso reflects on life on the move – long stretches away from home, constant travel, a sense of jet lag that never quite leaves. The title Flugmodus works as both a literal and symbolic idea: switching the phone to flight mode, shutting out the noise, and retreating into a private space – Everything’s good, eyes closed, Flight mode on (Yeah)

At its heart, the song is about distance and closeness. Even while travelling, he imagines being with the person he loves. There’s a sense of counting down the days until reunion, of wanting to pause the world and hold on to something real. The mood is reflective but not heavy – more dreamy than sad.

At the end of this post, I’ve included the curious, official video with its dark and twisted humour, which sharply contrasts with the breezy, chirpy sound and the singers’ buoyant mood. Below that, I’ve added the live version from the concert I mentioned earlier.

The following is a crude translation of Flugmodus:

Permanenter Jetlag / Permanent jet lag
Immer nicht in Glanzform / Always not at my best
Leb’ auf der Straße wie ‘n Cadillac / Living on the road like a Cadillac
Schick’ dir ‘n Foto, wenn ich ankomm’, yeah, ah / Sending you a pic when I arrive, yeah, ah
Ich weiß nicht, wie viel Tage Action war, wie lang wir munter war’n / I don’t know how many days of action there were, how long we were awake
Ich freu mich auf den Flieger, einfach abheben, runterfahr’n / I’m looking forward to the plane, just taking off, coming down
Ich war zu lange fort, wir reden grad nicht viel / I’ve been gone too long, we’re not talking much right now
Jeder nur ein Sterbenswort / Just a word from each of us

Und es ist alles okay / And everything’s okay
Alles gut, Augen zu, Flugmodus an (Ja) / Everything’s good, eyes closed, Flight mode on (Yeah)
Baby, ich bin gleich da / Baby, I’ll be right there
Du bist bei mir, ich bin bei dir, komm, lass dich fall’n / You’re with me, I’m with you, come on, let yourself fall
Fall’n rückwärts in den Treibsand / Falling backwards into quicksand
Wolkenlos, weißes Bett / Cloudless, white bed
Halt dich fest, California-King-Size / Hold on tight, California king size
Du bist bei mir, ich bin bei dir, komm, lass dich fall’n / You’re with me, I’m with you, come on, let yourself fall
Wir fall’n rückwärts in den Treibsand / We’re falling backwards into the Quicksand

Die Lobby Dolby (Ah), das Zimmer monoton / The lobby is Dolby (Ah), the room is monotonous
Draußen hält die Leuchtreklame ‘nen Monolog / Outside, the neon sign is doing a monologue
Ich brauche Kraft, kleb’ den Rauchmelder ab / I need strength, I tape over the smoke detector
Die Gedanken laut, als wenn ein Stein ins Schaufenster kracht / My thoughts are loud, like a stone crashing through a shop window
Ich könnte durchdreh’n (Durchdreh’n) / I could go crazy (Go crazy)
Aber muss auf Kurs bleiben (Kurs bleiben) / But I have to stay on course (Stay on course)
Könnte mein Telefon durchbeißen (Durchbeißen) / I could bite my phone in half (Bite it in half)
Ich wär gern in deiner Zeitzone, deiner Zeitzone, yeah / I wish I were in your time zone, your time zone, yeah

[Pre-Refrain]
Schwarze Wolken, eisblauer Swimmingpool / Black clouds, ice-blue swimming pool
Ich hör’ deiner Stimme zu / I’m listening to your voice

Komm, lass uns einfach nur heimlich verschwinden / Come on, let’s just slip away secretly
Irgendwo liegen, wo keiner uns findet (So weit) / Lie somewhere where no one can find us (So far)
Ohne Druck wie gezeichnete Skizzen / Without pressure, like drawn sketches
Und ich zähl’ die Tage rückwärts / And I’m counting the days backwards

[Pre-Refrain]
Kerzen werfen Schatten an die Wand / Candles cast shadows on the wall
Oben Kronleuchter, groß wie Amiland / Chandeliers upstairs, as big as America
Schwarze Wolken, eisblauer Swimmingpool / Black clouds, ice-blue swimming pool
Ich hör’ deiner Stimme zu /I’m listening to your voice

References:
1. Clueso – Wikipedia

Tagged with: , , ,
Posted in Music

If You Love Them, Let Them Go (2024) – Johnny Lloyd

Posted on February 24, 2026 by observationblogger — Leave a comment

Released in October 2024, If You Love Them, Let Them Go is from Johnny Lloyd’s fourth studio album, Punchline (image inset), which came out on 31 January 2025. The record centres on love, heartbreak and the difficult act of moving on, built mainly around gentle acoustic guitar.

The single arrived after a busy stretch for Lloyd. He had been writing music for television and film, including work on I Hate Suzie, which won him the RTS Award for Best Original Music. During this period, he was also making new material and touring with his band Tribes.

If You Love Them, Let Them Go is a beautifully written song about unrequited love. Its lilting melody and intimate vocals give it a sense of surrender, just as the title suggests. There is also a distinctly English, folk-tinged feel in its opening – reminiscent of the acoustic mood of Dylan’s Girl From The North Country. The lyrics evoke the still-fresh memory of a love only recently lost. You can almost sense the perfume of his former lover and the taste of whiskey on her lips.

The title If You Love Them, Let Them Go echoes the age-old sentiment about emotional freedom and trust in genuine connection:

“If you love someone, let them go. 
 If they come back, they’re yours. If they don’t, they were never yours to begin with”

Yet despite this idea of letting go, the narrator is clearly heartbroken by his lover’s recent departure:

Did the sun come up today,
I wouldn’t notice anyway,
you’re a shadow on the floor,

An interesting coincidence is that this reflective “break-up” song arrived just as my article appeared yesterday, revisiting my review of Scoop, which features a striking performance by Billie Piper – Lloyd’s former partner.

She appears in the photo left with Lloyd, cradling her pregnant stomach with one hand.
Piper began dating Lloyd, frontman of Tribes, in 2016. Their daughter was born on 2 January 2019, and the couple separated in 2023.

For further reading, see The Standard article titled: “Johnny Lloyd: Before Billie Piper I was lost.”

your cigarettes left by my bed,
it was always me and you,
it was always me and you

You leave me drenched in your perfume,
said you wanted someone new,
guess the joke is all on me,
guess the joke is all on me

Taste of whiskey on your lips,
you ask me is there more than this
when did life become a drag
when did life become a drag

Everyday it goes the same,
disappointment push the blame,
if you love them let them go,
if you love them let them go.

The day the angels fell to earth
The day the angels fell to earth

You come around to get your things,
you smile at me I let you in,
did it always end this way,
did it always end this way

For a minute I’m happy,
then you get up and you leave,
I am hopeless once again,
I am hopeless once again

Did the sun come up today,
I wouldn’t notice anyway,
you’re a shadow on the floor,
you’re a shadow on the floor

Heartbreak it starts within,
then it pushes through your skin,
if you love them let them go,
if you love them let them go

The day the angels fell to earth
The day the angels fell to earth

If you love them let them go

Tagged with: , , ,
Posted in Music

16/02/26 – 22/02/26 – Willie Colón / Former Prince Andrew

Posted on February 23, 2026 by observationblogger — 2 Comments
news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

It feels strange to place the names of Willie Colón and former Prince Andrew side by side in a single title. Colón is mentioned in light of his recent passing and his legacy as a pioneer of traditional salsa music. Andrew, by contrast, remains a disgraced member of the Royal Family because of his association with the Jeffrey Epstein scandal, a story that continues to dominate headlines.

However, a recent piece published by UnHerd introduces a significant caveat regarding Andrew’s presumed guilt – one that, if persuasive, could complicate what many believe to be a settled narrative.

Willie Colón, trombonist who pioneered salsa music, dies aged 75

– Article Nardine Saad at BBC News

It’s with the sad passing of Willie Colón, I reflect on an article I wrote in 2024 about one of Willie Colón’s classics called ‘Sin Poderte Hablar’ (Eng. Without Being Able to Speak To You). How he blended classic salsa (by its rich rhythmic foundation) and Western pop sensibilities reminiscent of the kitsch ’60’s city sounds of Petula Clark’s Downtown, a ‘Breakfast at Tiffanys’ Sally’s Tomato or Burt Bacharach. The slight crossover feel or ‘fusion’ between traditional and modern (salsa romántica at least lyrically), and latino and western music enabled it to gain mainstream attention amongst American and Latin audiences at the same time.

Sin Poderte Hablar (1979) – Willie Colón

Scoop (2024) – Philip Martin (Friday’s Finest)

– Netflix movie about former Prince Andrew’s infamous interview with the BBC

Following the recent news of Andrew being taken into custody by authorities, I thought it timely to resurface a Friday’s Finest piece I wrote in April 2024 about the Netflix film that superbly reenacts how the BBC secured its now-infamous interview with Prince Andrew.

The film revisits that extraordinary exchange and casts light on his guarded relationship with the late and convicted sex offender and human trafficker Jeffrey Epstein.

Within that article I wrote:
I recall in my adolescent years seeing Prince Andrew, Duke of York in his naval uniform and reading about him being a hero in the Falklands war as a helicopter pilot. I couldn’t help but look up to him; he seemed the epitome of a gentlemen with an outstanding career, beautiful wife and family. How perceptions can be deceiving. Below is the article:

Scoop (2024) – Philip Martin (Friday’s Finest)

So this brings us to this recent video published by the British news and opinion platform – UnHerd, who – to be honest – haven’t let much slip past them or, in my view, gotten much wrong since COVID struck.

In my modest estimation, they are among the more reliable news sources on sensitive and polemical topics that I’ve come across, particularly at a time when sections of the Western media have repeatedly been accused of selective reporting and agenda-driven framing.

In their interview below, journalist Michael Tracey argues that Andrew has effectively been made a scapegoat and that there is no conclusive evidence proving criminal guilt, noting that Andrew has consistently denied wrongdoing and has not been criminally convicted. Tracey suggests that Andrew was effectively cast aside by the Royal Family in order to protect the institution.

He presents a forceful case for Andrew’s innocence, pushing back against the sustained wave of media outrage that has shaped public perception over the past several years, including my own.

Tagged with: , , ,
Posted in Music, News, politics

Took The Children Away (1990) – Archie Roach

Posted on February 22, 2026 by observationblogger — 2 Comments

I first heard about Archie through my guitar player, Steve Connolly, who’d seen him on a TV show called Blackout and said, “You gotta hear this guy.” We wanted to do something special for our Hamer Hall show in 1990 so we tracked down Archie [to support]. He finished [his set] with Took the Children Away. There was this stunned silence; he thought he’d bombed. Then this wave of applause grew and grew; I’d never heard anything like it.
– Paul Kelly (Australian singer-songwriter and producer of Archie Roach’s debut album – Charcoal lane)

The late, great Aboriginal Australian singer Archie Roach came to national attention with the song that launched his career, Took the Children Away. In it, Roach sings about being forcibly removed from his family as a child under government assimilation policies that created what is now known as the Stolen Generations. The trauma of that removal stayed with him throughout his life and became the foundation of his art, beginning with his debut album, Charcoal Lane (1990).

I will never forget hearing, for the first time, Roach’s plaintive and yearning voice as he told these deeply personal stories about the impact of the Stolen Generations on him, his family, and his community. The song is undeniably sad and heartbreaking, yet it closes with an unexpected turn toward hope and spiritual strength.

Few songs end with such a striking and liberating sense of epiphany. Each time I hear it, my eyes well with tears. The images it evokes feel almost cinematic in scope – yet this is not fiction. It is lived history. It is a moment so powerful that it deserves to be discovered by the listener – I don’t want to spoil it.

Archie Roach and Paul Kelly

Took the Children Away is a searing political song but a love song to Archie’s family, people and country too. I knew it would get a strong response because of how it affected me and that audience at Hamer Hall when we first heard it. It’s got a very strong gospel tone, which is why we started it with just his voice and a church-sounding organ. Archie is a beautiful soul singer.
– Paul Kelly

About ten years after first discovering Charcoal Lane and listening to it countless times, I saw Roach perform live in Melbourne alongside my favourite Australian singer-songwriter, David Bridie, founder of My Friend the Chocolate Cake. That concert remains one of my most cherished musical memories.

In 2008, then Prime Minister Kevin Rudd delivered a formal National Apology to Aboriginal and Torres Strait Islander peoples for the forced removal of children from their families. Songs like Took the Children Away helped prepare the emotional ground for that moment. Roach’s work brought the reality of the Stolen Generations into the mainstream of Australian music and public life.

He was appointed a Member of the Order of Australia in 2015 for his service to music and social justice. Archie Roach passed away in 2022, leaving behind a body of work that continues to heal and educate.

[Verse 1]
This story’s right, this story’s true
I would not tell lies to you
Like the promises they did not keep
And how they fenced us in like sheep
Said to us, “Come take our hand”
Set us up on mission land
Taught us to read, to write and pray
Then they took the children away

[Chorus 1]
Took the children away
The children away
Snatched from their mother’s breast
Said “This is for the best”
Took them away

[Verse 2]
Welfare man, the policeman
Said you got to understand
We’ll give to them what you can’t give
Teach them how to really live
“Teach them how to live,” they said
Humiliated them instead
Taught them that and taught them this
And others taught them prejudice

[Chorus 2]
You took the children away
The children away
Breakin’ their mother’s heart
Tearing us all apart
Took them away

[Verse 3]
One dark day on Framingham
Came and didn’t give a damn
My mother cried, “Go get their dad”
He came runnin’, fightin’ mad
Mother’s tears were falling down
And Dad shaped up, and he stood his ground, he said
“You touch my kids and you’ll fight me”
Then they took us from our family

[Chorus 1]
Took us away
They took us away
Snatched from our mother’s breast
Said this is for the best
Took us away

[Verse 4]
Told us what to do and say
Taught us all the white man’s ways
Then they split us up again
And gave us gifts to ease the pain
Sent us off to the foster homes
As we grew up, we felt alone
‘Cause we were acting white yet feeling black
One sweet day all the children came back

[Chorus 3]
The children came back
The children came back
Back where their hearts grow strong
Back where they all belong
The children came back
I said the children came back
The children came back
Back where they understand
Back to their mother’s land
The children came back

[Outro]
Back to their mother
Back to their father
Back to their sister
Back to their brother
Back to their people
Back to their land
All the children came back
The children came back
The children came back
Yes, I came back

References:
1. Took the Children Away – Wikipedia
2. Archie Roach’s Took the Children Away: how one heartbreaking song galvanised a nation – The Guardian

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 778 other subscribers

← Back

Thank you for your response. ✨