Valentine’s Day (2013) – David Bowie

If there was any one artist whose music catalogue I wish I had explored more deeply, it would be David Bowie. I was a latecomer to appreciating his music and recognising him as one of the most influential musicians of the 20th century. He still features here quite prominently, and that continues today with this cool song – Valentine’s Day. This 2013 track comes from his penultimate album The Next Day (image inset), released just a few years before his death from liver cancer in 2016 at the age of 69.

I mentioned “cool,” but it surprised me to read (according to Wikipedia) that the lyrics are written from the perspective of someone with the mindset of a school shooter. Reading it again with that in mind, I can see it more clearly. Even so, the music still sounds “cool.” Bowie manages to approach the theme of gun violence without describing violence directly – instead focusing on uneasy, human emotions. That’s pretty clever. I also like how the music offsets the dark subject matter, with a boppy, almost Traveling Wilburys-like “Sha la la, Sha la la” thrown in for contrast.

I like the video too. Bowie plays that little guitar thing you’d expect to see in ‘Toys “R” Us’ – but, of course, it still sounds great. You could almost apply that John Lennon quote to Bowie as well: “I’m an artist. You give me a f***ing tuba, I’ll get you something out of it.” The instrument he uses is a Hohner G2T guitar, a compact headless model originally produced in the mid-to-late 1980s, mainly for international markets.


Wikipedia:

The Next Day is the twenty-fifth studio album by the English musician and was his first studio release in ten years, as he had retreated from public view after undergoing a procedure to treat a blocked heart artery in 2004.

The lead single Where Are We Now? and announcement of the album were posted online on 8 January 2013, Bowie’s 66th birthday, surprising fans and media who had assumed he had retired from music. 

The Next Day topped charts worldwide and debuted at number one and two on the UK Albums Chart and US Billboard 200, respectively.

[Verse 1]
Valentine told me who’s to go
Feelings he’s treasured most of all
The teachers and the football star

[Chorus]
It’s in his tiny face
It’s in his scrawny hand
Valentine told me so
He’s got something to say, it’s Valentine’s Day
The rhythm of the crowd
Teddy and Judy down
Valentine sees it all
He’s got something to say, it’s Valentine’s Day

[Verse 2]
Valentine told me how it feels
If all the world were under his heels
Or stumbling through the mall


[Chorus]
It’s in his tiny face
It’s in his scrawny hand
Valentine knows it all
He’s got something to say, it’s Valentine’s Day

[Outro]
(Yeah)
Valentine Valentine
(Yeah) (Woo) (Woo)
Valentine Valentine
It’s in his scrawny hand
It’s in his icy heart
It’s happening today
Valentine Valentine
It’s in his scrawny hands
It’s in his icy heart
It’s happening today
Valentine Valentine

References:
1. Valentine’s Day (song) – Wikipedia

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Vacation (1982) – The Go-Go’s

Turn back the clock with a little bit of bubblegum 80s pop from the American all-female rock band The Go-Go’s. Vacation was one of their biggest hit singles, reaching No. 8 on the Billboard, and it was the lead single and title track from their 1982 album (inset). It contains that buoyant, untainted 80s charm I still like to listen to now and again.

It’s hard not to enjoy the irrepressibly 80s video below, with its summer and beach theme running throughout – complete with some very fake-looking waterskiing close-ups. They’re even seen blowing bubbles -who doesn’t enjoy that? But don’t let that sweet, cutesy innocence fool you. Around this time, several members of the band were struggling with drug use, and tensions were beginning to rise over creative differences.

During the one-day, $50,000 shoot for the video, Jane Wiedlin recalled, “After seven or eight hours we sent out someone to sneak in booze.” Kathy Valentine said they drank “lots of champagne.” Wiedlin later added that the effects are obvious in the final close-ups: “If you look at our eyes, we’re all so drunk. We didn’t even try to make it look like we were really waterskiing.” (Wikipedia)

The band broke up in 1985, but have reunited on several occasions since, including touring in recent years. On October 30, 2021, they were inducted into the Rock and Roll Hall of Fame by longtime fan Drew Barrymore.

You might also remember lead vocalist Belinda Carlisle, who went on to have a successful solo career with hits like “Leave a Light On,” “Summer Rain,” and “Heaven Is a Place on Earth.”

[Verse 1]
Can’t seem to get my mind off of you
Back here at home, there’s nothin’ to do, ooh
Now that I’m away, I wish I’d stayed
Tomorrow’s a day of mine that you won’t be in

[Verse 2]
When you looked at me, I should have run
But I thought it was just for fun
I see I was wrong, and I’m not so strong
I should have known, I know that time would tell

[Pre-Chorus]
A week without you
Thought I’d forget
Two weeks without you
And I still haven’t gotten over you yet

[Chorus]
Vacation, all I ever wanted
Vacation, had to get away
Vacation, meant to be spent alone
Vacation, all I ever wanted
Vacation, had to get away
Vacation, meant to be spent alone

References:
1. Vacation (The Go-Go’s song) – Wikipedia

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Sinfonia Concertante for Violin, Viola and Orchestra, K. 364 Mov. 1 (1779) – Wolfgang Amadeus Mozart

Returning again to the Maestro, this time at 23 years of age, with this light and airy concertante symphony written for both violin and viola. Many will recognise the passage at (4:08), even if they haven’t heard the whole movement. Despite its clarity and grace, there are many moments of regal delight and quiet fanfare. It comprises so many emotions, so many unexpected turns and surprises.

As you can see in the image, there are only small physical differences between the viola and violin, with the viola just a few inches longer. There are also differences in tuning, sound, and musical role within an ensemble. The viola is heavier, uses thicker strings, and requires a slightly heavier bow, which all contribute to its darker, warmer tone.

It is said that when this piece premiered, Wolfgang Amadeus Mozart specifically wanted to play his favourite string instrument – the viola – while Leopold Mozart performed the violin part. You can see how fond he is of the viola giving it an equal voice rather than a supporting one. You can watch a live version here by the Kristiansand Symphony Orchestra to see how the violin and viola interact in performance.

Listening to this again this morning lifted my spirits. I felt more relaxed, lighter somehow. It feels like a privilege to hear something made so long ago that still sounds so fresh, almost as if it’s in a constant state of renewal.

Portrait by Rosa Hagenauer [de], c. 1775 (Wikipedia)

By the time of its composition in 1779, Mozart had returned to Salzburg after his travels through Mannheim and Paris. He had recently experienced the loss of his mother, and although this movement is generally bright, there are moments – such as around (8:35) – that carry a sense of sadness and melancholy, as if something deeper lies just beneath the surface.

Her death occurred in June 1778 while she was accompanying her son Wolfgang on a job-hunting tour, and she was buried the following day in the cemetery of the Church of Saint-Eustache. Wolfgang was deeply shocked by his mother’s death. Several letters that Wolfgang wrote to his father from Paris, which are still extant, deal with this tragic event.

Comparing the portrait of Anna Maria Walburga Mozart with the portraits of Mozart I’ve seen, the resemblance is uncanny.

References:
1. Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) – Wikipedia
2. The best recording of Mozart’s Sinfonia concertante for violin and viola – Gramofone

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Help! (1965) – The Beatles

I always enjoyed the melody and singing in the verses of The Beatles – “Help!” more than any other part of the song. It contains a sophisticated Lead-Lag-Lead-Synchronous pattern where backing vocals (Paul and George) move between anticipating, following, and echoing John’s lead melody. It’s clever, and you can see it clearly in the video, with them arranged one behind the other on a work plank. In fact, according to Paul McCartney, he was called in “to complete it” at John Lennon’s house, helping shape the countermelody arrangement.

Once again Lennon’s expressive and gritty vocals are wonderful, but here they feel more open and vulnerable than on rasping rockers like Twist and Shout and Dizzy Miss Lizzy; his voice carries a sense of urgency while still sounding controlled and melodic.

Help! was the title song for the 1965 film and its accompanying soundtrack album. Lennon later said that when he was commissioned to write it, he didn’t realise at the time that he was genuinely crying out for help, as he was going through a period of depression. He famously called it his “fat Elvis” period, saying, “Anyway, I was fat and depressed, and I was crying out for help.”

By this time, these four musicians from Liverpool – rooted in rock and blues and gifted in playing, singing, and songwriting – had become a cultural phenomenon. The Beatles had grown into something larger than John, Paul, George, and Ringo as individuals could comfortably carry.

Lennon, as his later reflections suggest, was becoming more aware of his own limitations and the strange weight of fame, including the sense of power others projected onto him. Through songs like Help!, he was trying to hold on to a more honest version of himself amid the noise surrounding his life.

 “The whole Beatles thing was just beyond comprehension. I was subconsciously crying out for help
– Playboy interview 1980


Wikipedia:

In the 1970 Rolling Stone “Lennon Remembers” interviews, Lennon said he felt that “Help!” and “Strawberry Fields Forever” were his most honest, genuine Beatles songs and not just songs “written to order“.

The Beatles recorded “Help!” in 12 takes on 13 April 1965 using four-track equipment. The first nine takes concentrated on the instrumental backing. The descending lead guitar riff that precedes each verse proved to be difficult, so by take 4 it was decided to postpone it for an overdub. To guide the later overdub by George Harrison, Lennon thumped the beat on his acoustic guitar body, which can be heard in the final stereo mix. 

 On 14 August, the group recorded a live performance of “Help!” and five other songs for The Ed Sullivan Show.

Help, I need somebody
Help, not just anybody
Help, you know I need someone, help

When I was younger, so much younger than today
I never needed anybody’s help in any way
But now these days are gone, I’m not so self assured
Now I find I’ve changed my mind and opened up the doors

Help me if you can, I’m feeling down
And I do appreciate you being round
Help me, get my feet back on the ground
Won’t you please, please help me

And now my life has changed in oh so many ways
My independence seems to vanish in the haze
But every now and then I feel so insecure
I know that I just need you like I’ve never done before

Help me if you can, I’m feeling down
And I do appreciate you being round
Help me, get my feet back on the ground
Won’t you please, please help me

When I was younger, so much younger than today
I never needed anybody’s help in any way
But now these days are gone, I’m not so self assured
Now I find I’ve changed my mind and opened up the doors

Help me if you can, I’m feeling down
And I do appreciate you being round
Help me, get my feet back on the ground
Won’t you please, please help me, help me, help me, oh

References:
1. Help! (song) – Wikipedia
2. Help! – SongMeanings

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Kommienezuspadt (2002) – Tom Waits

Today’s featured track Kommienezuspadt from Tom Waits is a lot of fun. I can’t wipe the big grin off my face when I hear it. It came on my collection yesterday and, such was my enjoyment, I assumed I must have written about it before. I thought, “I sure as hell better have – and if not, it’ll be what I write about tomorrow.” So here we are.

Like I did yesterday (and the times before), I thought what Tom was splattering out here was just pure “gobbledygook” – made-up words. But looking into it, I can confirm the song weaves between pretend German, actual German, and English. There you go – I didn’t even pick up on his English, and I suspect some Germans might struggle with his German too. That could very well be the point.

So, the title Kommienezuspadt seems to be a playful distortion of “Komme nie zu spät,” which roughly means “don’t ever be late” in German. Why it’s spelled this way isn’t clear, but it fits perfectly with the mock-German he fires off throughout the song, alongside the repeated English line “Don’t be late.” “Sei pünktlich” means “be punctual,” reinforcing the same idea.

It brings to mind the White Rabbit in Alice’s Adventures in Wonderland, constantly panicking about time as if his life depends on it – which, in his mind, it probably does.

The song appears on Alice (2002), which grew out of a stage work Waits created with Kathleen Brennan years earlier. That production was loosely inspired by Alice in Wonderland, so the connection to the White Rabbit’s obsession with punctuality feels deliberate rather than accidental.

As for the music itself, I enjoy it as much for its comedic effect as anything else. But Tom’s wild, theatrical vocals wouldn’t land nearly as well without the restless pacing and sharp musicianship underneath. It feels like a chaotic, cabaret-style jazz piece – almost like a slightly unhinged European theatre band – where it sounds loose and free, yet never actually falls apart.

Tom slips back into that manic minstrel role, and you feel like you’re watching the oddest sideshow at a travelling fair, fronted by a group of brilliant misfits. It’s messy, playful, and there’s plenty to enjoy.

I hope you enjoy it as much as I did. Thanks for reading.

(Pretend German)
Kommienezuspadt
Kommienezuspadt
Kommienezuspadt
Kommienezuspadt

Sei punktlich
Sei punktlich
Sei punktlich

Kommienezuspadt
Kommienezuspadt
Kommienezuspadt
Kommienezuspadt
And we can’t be late
And we can’t be late

(Pretend German)
And we can’t be late
Kommiene, Kommiene
Kommienezuspadt
Kommienezuspadt
Kommienezuspadt

(Pretend German)
And we can’t be late
And we can’t be late
And we can’t be late
And we can’t be late
Kommienezuspadt
Kommienezuspadt

Sei punktlich
Sei punktlich
Sei punktlich

Kommienezuspadt
Kommienezuspadt

Ha, ha, ha, ha
Ha, ha, ha, ha, ha, ha
Ha, ha, ha, ha
Kommienezuspadt

(Pretend German)
And we can’t be late
And we can’t be late
And we can’t be late
Sei punktlich
Sei punktlich
Kommienezuspadt
Kommiene, kommiene, kommiene, kommiene
Kommienezuspadt

References:
1. Alice (Tom Waits Album) – Wikipedia
2. Kommienezuspadt – SongMeanings

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Préludes / Book 1, L. 117: VIII. La fille aux cheveux de lin (1909-1910) – Claude Debussy

On this wet and chilly morning here in Bogotá, I present to you this delightful little piece by the French composer Claude Debussy. La fille aux cheveux de lin is the eighth of the composer’s Préludes, Book I (1909–1910). The title translates roughly to The Girl with the Flaxen Hair. Flaxen is a pale yellow, wheat-like colour – like that of the girl in the video below. The image appears in fine art as a symbol of innocence and naivety.

When I was pregnant I played this song to my unborn child. She’s now a happy little girl with flaxen hair. And still wants to listen to this song before going to bed sometimes‘.
– Commentator in the video below

Despite its brevity, The Girl with the Flaxen Hair lifted my mood on this dreary, peculiarly dark morning. This light and lucid piece is charming and amorous. You can see why it drew its inspiration from the wonderfully romantic poem of the same name below. For, love, in clear summer sunlight / Has soared with the lark and sung now. It’s also easy to see why it’s one of Debussy’s most recorded works.

Despite its relative simplicity, it remains a very popular solo piano piece – one many of you will likely recognise. In writing it, Debussy steps away from some of his more complex later tendencies, returning instead to a clearer, more restrained style with simple, transparent harmonies.

Below is Leconte de Lisle‘s poem by the same name, translated into English below (Wikipedia):

On the lucerne midst flowers in bloom,
Who sings praises to morning?
It is the girl with golden hair,
The beauty with lips of cherry.

For, love, in clear summer sunlight,
Has soared with the lark and sung now.

Your mouth has such colours divine,
My dear, so tempting to kisses.
On grass in bloom, talk to me, please,
Girl with fine curls and long lashes.

For, love, in clear summer sunlight,
Has soared with the lark and sung now.

Do not say no, cruel maiden.
Do not say yes. Better to know
The long lasting gaze of your eyes
And your rosy lips, oh, my belle.

For, love, in clear summer sunlight,
Has soared with the lark and sung now.

Farewell, you deer, farewell you hares
And the red partridge. I want
To stroke the gold of your tresses
Smothering lips with my kisses.

For, love, in clear summer sunlight,
Has soared with the lark and sung now

References:
1. La fille aux cheveux de lin – Wikipedia

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Until I Found You (2021) – Stephen Sanchez

I wrote this song in my bedroom for a girl I loved…That’s all it was and all I ever needed it to be, but now it’s the soundtrack for so many love stories

Stephen Sanchez in a Rolling Stones interview

You might be forgiven for thinking you’re hearing a late – ’50s love ballad in the style of The Everly Brothers, but this is in fact a 2021 track that leans fully into that romantic vintage era. Even in the video, Stephen Sanchez appears with a James Dean-style hairstyle, alongside a Marilyn Monroe lookalike. Now, if that all hasn’t already been done to death – I hear you say.

Well, for the album and video he’s playing fictional version of Sanchez named “The Troubadour Sanchez” rising to fame in 1958 after performing his song Until I Found You before he falls in love with a woman named Evangeline, who is the girlfriend of a mob boss named Hunter, and is killed.

Lo and behold, this fairly conventional tune – with its sweet echoes of ’50s and ’60s romantics – struck a chord with younger audiences. It became a major hit, reaching No. 8 in Australia, No. 14 in the UK, and No. 23 on the Billboard Hot 100. It’s a nice tune – a ‘pleasant’ and ‘decent’ kind of song – something that might seem out of step with today’s dominant sounds – yet its success suggests otherwise.

It’s remarkable that this was a breakout hit for Sanchez, who was just 19 at the time of its release. You might expect a hit like this to come from an already established artist – someone revisiting a bygone style after years in the industry. Instead, success came quickly for this newcomer. Still, it’s refreshing to see audiences responding to this mood, this sound, and perhaps a longing for something a little more timeless.

Sounding old, aren’t I?


Wikipedia:

Until I Found You was released on Sanchez’s debut album – Angel Face.
Sanchez explained that the address “Georgia” refers to his girlfriend at the time ‘Georgia Brown’, with whom he was in a long-distance relationship. He explains that he felt so undeserving of her love that he “pushed her away“. The pair ended up reconnecting, but Sanchez says the song was written during the period when he had “lost her“. Georgia Brown even contributed vocals on the track.

[Verse 1: Stephen Sanchez]
Georgia, wrap me up in all your
I want ya in my arms
Oh, let me hold ya
I’ll never let you go again like I did
Oh, I used to say

[Chorus: Stephen Sanchez & Georgia Brown]
I would never fall in love again until I found her
I said I would never fall, unless it’s you I fall into
I was lost within the darkness, but then I found her
I found you

[Verse 2: Stephen Sanchez & Georgia Brown]
Georgia pulled me in
I asked to love her once again
You fell, I caught ya
I’ll never let you go again like I did
Oh, I used to say

[Chorus: Stephen Sanchez & Georgia Brown]
I would never fall in love again until I found her
I said I would never fall unless it’s you I fall into
I was lost within the darkness, but then I found her
I found you

[Chorus: Stephen Sanchez & Georgia Brown]
I would never fall in love again until I found her
I said I would never fall unless it’s you I fall into
I was lost within the darkness, but then I found her
I found you

References:
1. Until I Found You – Wikipedia

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Upping (2023) – Chief Springs

I really like the smooth sound of the indie rock group Chief Springs, based in Leicester and London. The music from their 2003 EP Time to Take Time is superb, and it was the glistening, expansive opening track Elastic that first captivated me. I listen to it regularly, and it remains one of my favourite indie rock tracks of this century.

Today’s track, Upping is more subtle and laid-back than its predecessor, but that doesn’t make it any less arresting by the end. Sometimes I wonder if I’m hearing things, since these two songs have just 132 views and 38 views respectively.

Upping draws you in unsuspectingly, with its lush, gentle strumming and the lead vocalist Josh Coyne’s alluring baritone. The song coalesces instrumentally near the end where it shimmers like a dewy leaf in the early morning sun.

Upping is simply sweet – amiably romantic and thoughtful, yet quietly and melodically charming. Josh sings to his loved one with a quiet sense of devotion, ready to follow her wherever life might lead:

“Well I could move off this rock with you, build a house on the moon.
Make a state upon that star too, wait for the space plants to bloom.
Well I could fill a new home with you down on the bed of the sea.
Forge a life under ocean blue, cheap but it’s harder to breathe.
If I’m to do nothing, it’ll be with you.
Don’t see it as running, but a thing to do.”

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Stephen Meyer, John Lennox, and James Tour: Three Scientists on the Origins of Everything

Sometimes I just post random things I find fascinating – like this video. But if there’s one thing here that truly blew my mind, it was James Tour’s comments on simulating a living cell (at 20.00). A synthetic chemist and nanotechnologist, explains how we have no idea where life comes from. But worse than that is the more you try to understand it the harder it becomes. In my opinion, everyone should watch the entire video. Every science class should study this.

This video reminds me of one I posted on The Secret Of Quantum Physics: Einstein’s Nightmare (Jim Al-Khalili) | Science Documentary | Science.

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Up On Cripple Creek (1969) – the Band

Now we are getting to the nitty gritty of pure folk-rock Americana music – delivered by an almost entirely Canadian group formed in Toronto, Ontario. After their world tour with Bob Dylan in 1966 – where the Band helped shape what became known as folk-rock – they settled in Saugerties, New York, near Woodstock.

In a house called “Big Pink” in West Saugerties, they recorded the informal sessions that later became The Basement Tapes with Dylan. This is where they truly formed their own identity, leading to their 1968 debut album Music from Big Pink. So the tour and their time at Big Pink were really the inception of their Americana, roots-based sound – the one that would soon take the scene by storm.

Up on Cripple Creek was the first song performed in the legendary The Last Waltz, and it made an indelible impression on me. It was my first real foray into the group without Dylan. If there’s one magnificent introductory song that makes you sit up and take notice – especially if you’re unfamiliar with the Band – it’s this one. And it’s delivered by Levon Helm with that country-accented Arkansas drawl, full of vigor and grit.

You know right from the get-go this band – the Band – certainly know their stuff. They are just so tight. In terms of quality, I don’t think I’ve seen many bands reach the crescendo heights they achieved in their farewell concert on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San Francisco.

I’m always left in awe when I watch it, wondering how they pulled it off – remembering so many songs, many of them by other famous artists, and playing with such precision for more than four hours. It’s hard not to think about what might have been lost if Martin Scorsese hadn’t filmed it. The thought of that is enough to make you shudder.

Up on Cripple Creek draws on music from the American South – rock and roll, country, and a touch of bluegrass. Lyrically, you get mentions of mountains, the Mississippi River, the Gulf of Mexico, and Lake Charles, Louisiana, where a girl named Bessie resides.

She tells him to come on by if there’s anything she can do. They head to the racetrack and have a flutter – and what do you know, Bessie wins. They split the winnings, but she throws hers in his face, just having a laugh. “That’s when that little love of mine
Dips her doughnut in my tea
.”

He goes back out on the road to California but he says “this life of living on the road” is exhausting. He talks about going home to his “big mama,” but is tempted to return to Bessie again.

This life of living on the road” suggest over-the-road trucking and ‘Big Mama’ also refers to their dispatcher over CB radio. Robbie Robertson does say below, the song is about a man who just drives these trucks.


The following was abridged from Wikipedia:

Up on Cripple Creek
is the fifth song on the Band’s eponymous second album, The Band. It was released as an (edited) single on Capitol 2635 in November 1969 and reached No. 25 on the US Billboard.

Robertson said of writing the song:

I had some ideas for ‘Up on Cripple Creek’ when we were still based in Woodstock making Music From Big Pink. Then after Woodstock, I went to Montreal and my daughter Alexandra was born. We had been snowed in at Woodstock and in Montreal it was freezing, so we went to Hawaii, really as some kind of a way to get some warmth, and to begin preparing for making our second album. I think it was really pieces and ideas coming on during that travelling process that sparked the idea about a man who just drives these trucks across the whole country. I don’t remember where I sat down and finished the song, though.

[Verse 1]
When I get off of this mountain
You know where I want to go?
Straight down the Mississippi River
To the Gulf of Mexico
To Lake Charles, Louisiana
Little Bessie, girl that I once knew
She told me just to come on by
If there’s anything she could do

[Chorus]
Up on Cripple Creek, she sends me
If I spring a leak, she mends me
I don’t have to speak, she defends me
A drunkard’s dream if I ever did see one

[Verse 2]
Good luck had just stung me
To the race track I did go
She bet on one horse to win
And I bet on another to show
The odds were in my favor
I had ’em five to one
When that nag to win came around the track
Sure enough, she had won

[Chorus]

[Verse 3]
I took up all of my winnings
And I gave my little Bessie half
She tore it up and threw it in my face
Just for a laugh
Now there’s one thing in the whole wide world
I sure would like to see
That’s when that little love of mine
Dips her doughnut in my tea
He-he!

[Chorus]

[Verse 4]
Now me and my mate were back at the shack
We had Spike Jones on the box
She said, “I can’t take the way he sings
But I love to hear him talk”
Now that just gave my heart a throb
To the bottom of my feet
And I swore as I took another pull
My Bessie can’t be beat

[Chorus]

[Verse 5]
Now there’s a flood out in California
And up north it’s freezing cold
And this living on the road is getting pretty old
So I guess I’ll call up my big mama
Tell her I’ll be rolling in
But you know deep down, I’m kind of tempted
To go and see my Bessie again

[Chorus]

References:
1. Up on Cripple Creek – Wikipedia

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