Yellow – Coldplay

Posted on October 20, 2026 by observationblogger — Leave a comment

When Howard Stern asked Chris Martin whether Yellow was about a particular girl, Martin replied, “It’s about all girls.”

— The Howard Stern Show

To not beat around the bush, I would have to be paid a large sum of money to see Coldplay in concert. I never imagined I’d include one of their songs in my music project, but here we are. I know you have that old truism: “If you haven’t got anything good to say about someone, don’t say anything at all.” But hold ya horses! I’m going to say something good about Coldplay. I’m just taking the meandering route.

While we’re knee-deep in truisms, we may as well keep ’em coming. Every cloud has a silver lining. Looking on the bright side (and it couldn’t be more apt given the song title), when I heard their popular song Yellow recently, I decided to pull the trigger and let this baby rip.

I’d heard it sporadically over the years, thanks to radio rotation and its use in television and movies, and had always been kinda fond of it. Often regarded as one of Coldplay’s signature songs, it remains one of their oldest and most enduring hits. So here we are today.

Musically, Yellow is a breezy, dreamy song that captures the warmth and glow of its central metaphor. The narrator is so taken with someone that they seem to illuminate his entire world, much like the sun itself. He’s happy to orbit around their presence, basking in the warmth of their love – and feeling grateful beyond words.

The narrator sees beauty in every part of this person, even their skin and bones, and is willing to go to great lengths to show how much they mean to him. Sometimes a little sunshine is all you need.

Abridged from Wikipedia:

Yellow is the fifth track and second single from Coldplay’s 2000 debut album Parachutes. The title of the song came from the feel of the band during its composition, which was described as filled with “brightness and hope and devotion.”

It reached No. 4 in the UK, No. 5 in Australia and No. 48 in the US.

Background:

On The Howard Stern Show in November 2011, Chris Martin explained that he stumbled upon the song’s opening chord while impersonating Neil Young and singing “look at the stars”. The word “yellow” had no particular meaning; he tried replacing it while writing the lyrics, but it simply sounded right. Martin admitted he had often invented stories about songs to move on from interviews, but told Stern he was revealing the truth because he liked him.

[Verse 1]
Look at the stars
Look how they shine for you
And everything you do
Yeah, they were all yellow
I came along
I wrote a song for you
And all the things you do
And it was called “Yellow”
So then I took my turn
Oh, what a thing to have done
And it was all yellow

[Chorus]
(Ah) Your skin, oh, yeah, your skin and bones
(Ooh) Turn into something beautiful
(Ah) And you know, you know I love you so
You know I love you so

[Verse 2]
I swam across
I jumped across for you
Oh, what a thing to do
‘Cause you were all yellow
I drew a line
I drew a line for you
Oh, what a thing to do
And it was all yellow

[Chorus]
(Ah) And your skin, oh, yeah, your skin and bones
(Ooh) Turn into something beautiful
(Ah) And you know, for you, I’d bleed myself dry
For you, I’d bleed myself dry

[Bridge]
It’s true
Look how they shine for you
Look how they shine for you
Look how they shine for
Look how they shine for you
Look how they shine for you
Look how they shine

[Outro]
Look at the stars
Look how they shine for you
And all the things that you do

References:
1. Yellow (Coldplay song) – Wikipedia

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Yandoit – My Friend the Chocolate Cake

Posted on October 19, 2026 by observationblogger — Leave a comment

I’ve written so much about My Friend the Chocolate Cake over the years that finding a fresh angle can sometimes feel like hard work. Thankfully, their music is so spacious and enveloping that I can simply let it lead the way. With this Australian chamber pop group, the music really does speak for itself, and words can feel like a rather useless addendum to such an immersive wash of sound.

If you appreciate eclectic, artful music with a charming Celtic flavour, then look no further than today’s featured track, Yandoit. Whenever it comes on, I find myself swept up in it. The music transports me to a faraway land, centuries ago. When that Celtic tin whistle comes in, it hits all my British ancestral buttons and whisks me away on winds sweeping across the desolate grasslands of early colonial Australia. It’s grandiose.

Entering Yandoit (Wikipedia)

There’s an interesting Australian connection to the title, too. Yandoit is a small rural locality in central Victoria, in the Hepburn Shire. The name is said to derive from the Aboriginal Dja Dja Wurrung language, with the meaning “travel”. The area also has a long history of Aboriginal movement through the landscape.

I’d be very surprised the song wasn’t inspired by the place and / or its Aboriginal history. The band’s founder and singer-songwriter, David Bridie, is from Melbourne and has a real knack for drawing on Australian places, heritage, nature and culture in his songwriting. He even finds inspiration in sport, in particular his beloved ‘Melbourne’ football team.

Bridie can go way deep into Australian themes, too. One of my favourite songs by him is simply called The Mangrove Song. It’s superbly written and realised, and it doesn’t get much better than that as far as Australia calling – musically and thematically.

Yandoit comes from the Cake’s second studio album, Brood, released in 1994. The album went on to win the 1995 ARIA Music Award for Best Adult Contemporary Album.

Below is the original studio recording, followed by a rare treat: the Cake performing the song live at the Caravan Music Club on 31 May 2015. It’s that humble, familiar setting and presentation that I remember so fondly from seeing the Cake perform.

References:
1. My Friend the Chocolate Cake – Wikipedia

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The Tide is High – Blondie

Posted on October 18, 2026 by observationblogger — 8 Comments

I’m trying to milk my Music Library Project for all it’s worth, since yesterday’s post featured the first song starting with ‘Y’ in my alphabetical listing. Just 41 songs remain with titles beginning with ‘Y’ and ‘Z’, so, not counting some retrospective song additions (such as today’s song) still in the mix, I envisage that my ‘lil project will be all but out of stock and closing up shop around New Year’s 2027, or shortly thereafter.

I already dread thinking about what I’ll do to occupy my mornings, since this has become a more routine, meaningful and purpose-driven activity than just about anything else I’ve done. I’ve found immersing myself in it so therapeutic and, at times, exhilarating. It’s also been so nice having a readership to share it with, even if it’s a small one. So, thanks, gang!

Frankly, I never imagined myself being in this position, just a couple of months shy of finishing the project and wondering what it all means and what I’ll do next. And here I am, pondering just that.

I’ve been thinking of morphing the blog into something more in line with what the title Observation Blogger suggests: a journal of random observations about the obscure, absurd and whimsical occurrences, situations and memories I encounter or reflect upon. I’ve written these types of posts ad hoc over the years and get a real buzz from them, but they’ve been few and far between. You’ll find them under ‘Reflections‘ in my menu.

So, I’ll keep adding new songs, because music appreciation never ends, but these posts will be more sporadic once the project wraps up. I’ll focus more on personal reflection posts, as mentioned, and also dedicate more time to my weekly segments: ‘Monday – News on the March‘, Wednesday’s literature extracts and Friday’s Finest movie articles.

So, umm yeh, thanks, Blondie, for letting me use this post about your cool song to think aloud about the future of my personal blog and share those thoughts here.

The Tide Is High is yet another song I heard during a recent gym class for the first time in eons, and immediately felt the urge to add here. It’s more of a guilty pleasure, a closet song pick from the early ’80s that I remember a lot in my youth and want to celebrate its revival here.

I couldn’t help being swept up in a wave of nostalgia and, fittingly, images of beach escapades, thanks to its reggae groove and Hawaiian-like, hula-esque sounds. There’s a tranquillity and breeziness to it all, with an undercurrent of sexiness and risqué charm riding beneath the surface. It takes you away on an inflatable sun lounge with a piña colada in hand, drifting into a blissful state of contentment.

I didn’t realise Blondie’s 1980 version, which reached No. 1 in both the US and UK, wasn’t the original. The song was written by John Holt and first recorded by his Jamaican group, The Paragons, for their 1967 album On the Beach, which you can hear here. I’ll spare you the post-Blondie versions by girl group Atomic Kitten and Canadian rapper Kardinal Offishall.

I think this is the first time I’ve watched Blondie’s official video below, and seeing Darth Vader in it reminds me just how deeply the original Star Wars trilogy had embedded itself in popular culture. It’s definitely popular in this here household in Bogotá, where it gets frequent reruns.

As always, thanks for reading, folks!

References:
1, The Tide Is High

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¿Y Tú Qué Has Hecho? – Buena Vista Social Club

Posted on October 17, 2026 by observationblogger — 2 Comments

The words in this sweet and tender Cuban song Y Tú Qué Has Hecho (Eng: And What Have You Done?) bring to mind images and sentiments from Oscar Wilde’s fairy tales, such as The Selfish Giant. It was Cuban musician Eusebio Delfín who put his beautiful poetry to music in 1921, and voilà… we have today’s featured song, interpreted by the legendary Buena Vista Social Club.

It’s so romantic, simple and tender, with its gentle melody and brief, loving verses. A true gem from the past, brought back to prominence many years later by the Buena Vista project which we’ll discuss below.

Y Tú Qué Has Hecho tells a touching story about love, memory and loss through the metaphor of a tree and a girl. The girl carves her name into the tree, which responds by dropping a flower for her. The narrator reveals that he is the tree, still holding onto her memory, and asks: “¿Y tú, qué has hecho de mi pobre flor?” (And you, what have you done with my poor flower?). It’s a simple but effective expression of longing, leaving us to wonder whether the girl has treasured their connection as he has.

Eusebio Delfín is recognised for his use of arpeggiated guitar accompaniment in Cuban popular music, as well as for his many compositions, which have been interpreted by numerous artists, including Buena Vista Social Club.

Buena Vista Social Club takes its name from a members’ club in Havana’s Buenavista neighbourhood, a popular music venue in the 1940s.

In 1996, American guitarist Ry Cooder worked with Cuban musicians on the recording that became the Buena Vista Social Club album. German director Wim Wenders, who had previously teamed up with Cooder on their indie movie masterpiece Paris, Texas, later made the 1999 documentary Buena Vista Social Club. The project helped bring these outstanding Cuban musicians and their music to an international audience.

In 2020, the film was selected for preservation in the United States National Film Registry by the Library of Congress.

At the end of this post, below the original studio recording, you’ll find a live performance featuring Ry Cooder with Buena Vista Social Club and Cuban icons Ibrahim Ferrer and Compay Segundo on vocals. It was recorded on Tuesday, May 13, 1997, at BBC Television Centre in London.

[Verse 1]

En el tronco de un árbol una niña / On the trunk of a tree, a little girl
Grabó su nombre henchida de placer / Carved her name, filled with delight
Y el árbol conmovido allá en su seno / And the tree, moved deep within its heart
A la niña una flor dejó caer / Let a flower fall for the little girl

[Verse 2]

Yo soy el árbol conmovido y triste / I am the tree, moved and saddened
Tú eres la niña que mi tronco hirió / You are the girl who wounded my trunk
Yo guardo siempre tu querido nombre / I still keep your beloved name
Y tú, ¿qué has hecho de mi pobre flor? / And you, what have you done with my poor flower?

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Posted in Movies and TV, Music

What Goes On – The Beatles

Posted on October 16, 2026 by observationblogger — 4 Comments

I’ve always been partial to The Beatles’ obscure songs, even demo versions, rather than their bigger, over-saturated hits. What Goes On is one such example. I mean, check this out: the song reached number 81 on the US Billboard chart in 1966. Whoa!

Back to my leanings towards The Beatles’ less polished stuff. You see, back in primary school, we had some deranged, frothing-at-the-mouth Beatles fan for a PE teacher who put on Ob-La-Di, Ob-La-Da and Yellow Submarine during our pre-class exercise ritual, every single school day.

To say that made me disheartened and uninspired towards The Beatles from the get-go would be putting it mildly. To give this context, you can’t grow up in the Western world without some Beatles mania injecting itself into your life at certain points. But I was never on board and always burrowed back into my Dylan crypt.

I’m not kidding when I say it’s taken me over 40 years to overcome that boyhood musical trauma and dig deeper into the Beatles catalogue without those slow-motion flashbacks of us in our crisp school uniforms, jumping to the f/cking Yellow Submarine for the 100th school day in a row, haunting the experience.

So, onto What Goes On… finally, I hear you say.

It surprised me to learn how often Ringo Starr took the lead vocals for The Beatles, singing on a total of 11 songs, including the aforementioned demented kiddies’ song, Yellow Submarine.

What I like about What Goes On, apart from its country twist, is its frivolity and playful sound. Ringo’s voice seems to give it a bit of a cheeky, bantering quality through his inflections and tone. It’s fun and upbeat, and musically a little different from what you’d typically expect from The Beatles.

Their occasional forays into country music remind me of Eric Clapton’s venture into the genre in the late 1970s. Lay Down Sally comes to mind when I hear this song. They both have that country shuffle and easygoing, rootsy sound.

Where was I going with this? That’s becoming a more frequent question I find myself asking of late…What goes on in your mind?

From Wiki, Sicky, Picky, Ricky and Licky:

What Goes On was from The Beatles’ hard core Beatles fan favourite record – Rubber Soul and the B side US release of Nowwhere Man single.

John Lennon wrote the song in early 1959, likely at 251 Menlove Avenue. The early version of the song is heavily inspired by Buddy Holly, and differed substantially from the Rubber Soul version with only the chorus being the same.

The Beatles nearly recorded the song in March 1963, but ultimately did not do so until November 1965 for Rubber Soul. According to Lennon, “it was resurrected with a middle eight thrown in, probably with Paul [McCartney]’s help“.

Starr contributed to the lyrics, his first-ever composing credit on a Beatles song.When asked about his contribution Starr jokingly responded, “[I wrote] about five words to ‘What Goes On’ and I haven’t done a thing since.”

[Chorus]
What goes on in your heart?
What goes on in your mind?
You are tearin’ me apart
When you treat me so unkind
What goes on in your mind?

[Verse 1]
The other day I saw you (Ooh)
As I walked along the road (Ooh)
But when I saw him with you (Ooh)
I could feel my future fold (Ooh)
It’s so easy for a girl like you to lie (Ooh, ooh, ooh)
Tell me why

[Chorus]
What goes on in your heart?
What goes on in your mind?
You are tearin’ me apart
When you treat me so unkind
What goes on in your mind?

[Verse 2]
I met you in the morning (Ooh)
Waiting for the tides of time (Ooh)
But now the tide is turning (Ooh)
I can see that I was blind (Ooh)
It’s so easy for a girl like you to lie (Ooh, ooh, ooh)
Tell me why
What goes on in your heart?

[Verse 3]
I used to think of no one else (Ooh)
But you were just the same (Ooh)
You didn’t even think of me (Ooh)
As someone with a name (Ooh)
Did you mean to break my heart and watch me die? (Ooh, ooh, ooh)
Tell me why

[Chorus]

References:
1. What Goes On (Beatles song) – Wikipedia

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Winterlude – Bob Dylan

Posted on October 15, 2026 by observationblogger — 4 Comments

Just blowing the dust off some Dylan tracks that I didn’t care much for in my young adulthood but have grown fond of with the passing of time. I think there’s a broader gap in the appreciation of Dylan’s career between Blonde on Blonde and his 1975 album Blood on the Tracks, the so-called ‘Divorce’ album. I’ve done my best to reel in those goodies that nearly got away from that overlooked period of Dylan as a young family man, which includes today’s featured track, Winterlude.

After the tumultuous, electric and drug-fuelled crazy days of the 1966 world tour with the Band, Dylan chilled out and turned the volume way the f/ck down, not only in his personal life but also in his music. He even dipped his toes into country music and returned to a more acoustic sound, moving away from topical issues towards more domestic, reflective themes rooted in older American musical traditions.

Dylan explored domestic life, love and family on Nashville Skyline and New Morning (inset image), which features today’s track, Winterlude. These albums capture a warmer, more relaxed side of Dylan’s music, which I suppose clashed with the prophetic Dylan image your typical Dylan fan held. Oh, he’s just human, like the rest of us. Being a great artist includes not taking yourself seriously all the time. Hmm.

New Morning in particular has an unpretentious, almost homespun quality, and look no further than Winterlude for a good example.

Dylan’s new, smooth, almost crooner-like voice carries over from the Nashville Skyline sound. It’s refreshing to hear him sounding less raspy and nasally, even if it was only for a brief spell in his career. We can dance to the sound of that sweet voice. In a 2004 interview, Dylan said this about his changed voice: “I hadn’t realized how much you could get out of voice till I lost it in a motorcycle accident in 1966. When it came back, I had this rich, deep sound.”

Winterlude is just a very sweet and tender love song with a vocal to match, plus there’s a perfect little hint of goofiness in it. It’s a charming little serenade, a happy, flirtatious tune that makes you smile the whole way through. But don’t let that fool you into thinking his lyrical prowess has gone down a notch. Oh no, never think that.

Well, come out when the skating rink glistens
By the sun, near the old crossroads sign
The snow is so cold, but our love can be bold
Winterlude, this dude thinks you’re fine.

I liked what someone wrote in the comments: I don’t know how Winterlude didn’t become a holiday classic. Maybe the world just wasn’t ready to put Bob Dylan and Christmas music in the same sentence in 1970.

[Verse 1]
Winterlude, Winterlude, oh darling
Winterlude by the road tonight
Tonight there will be no quarreling
Everything is gonna be all right
Oh, I see by the angel beside me
That love has a reason to shine
You’re the one I adore, come over here and give me more
Then Winterlude, this dude thinks you’re fine

[Verse 2]
Winterlude, Winterlude, my little apple
Winterlude by the corn in the field
Winterlude, let’s go down to the chapel
Then come back and cook up a meal
Well, come out when the skating rink glistens
By the sun, near the old crossroads sign
The snow is so cold, but our love can be bold
Winterlude, this dude thinks you’re fine

[Verse 3]
Winterlude, Winterlude, my little daisy
Winterlude by the telephone wire
Winterlude, it’s making me lazy
Come on, sit by the logs in the fire
The moonlight reflects from the window
Where the snowflakes, they cover the sand
Come out tonight, everything will be tight
Winterlude, this dude thinks you’re grand

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The Story – Dolly Parton

Posted on October 14, 2026 by observationblogger — 6 Comments
Dolly Parton and Brandi Carlile. Photo courtesy of Newport Folk Festival

Dolly Parton is one of those rare celebrities who seems almost impossible to hate. She’s spent decades treating people with kindness, staying humble despite her success, giving millions of children free books through her charity, helping communities in times of need, and never forgetting where she came from. Even people who aren’t fans of her music usually respect her generosity, humour, and the way she treats others. You don’t have to love country music to appreciate the kind of person she is.

— Superme2027 on YouTube

This post is part tribute to the late legendary country singer-songwriter Dolly Parton and part spotlight on her exceptional performance of Brandi Carlile’s song The Story. I mentioned Dolly’s version in my post about Carlile’s original, but after listening to it a few times since, I thought it warranted its own post, especially in light of Dolly’s recent passing on 25 August 2026.

Dolly’s cover of The Story appeared on a 2017 charity album called Cover Stories, which featured various artists covering songs from Carlile’s album of the same name. First, I want to recount how Dolly’s version came about, because it’s a doozy:

Carlile asked Parton to record the song, suggesting she lower the key. She later called her letter “about the stupidest thing I think I’ve ever put down in writing.” Parton enthusiastically accepted the offer, replying, “Honey, do me a favor. Don’t drop the key. I think I can handle it.” Hearing the finished recording, Carlile conceded, “She just completely takes me to school.”

I second Carlile’s reaction. Dolly definitely takes her to school, particularly on those high notes. On that point, I actually wrote the following about Carlile’s version:

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.

Dolly Parton transforms this song, infusing it with dimensions that only a long life could provide. You believe every line she sings. Then there’s her voice, which is utterly beautiful, rich in timbre and expression, and arguably all the more moving for the years of life experience behind it.

I’m not nearly as well acquainted with Dolly’s vast musical catalogue as most country music fans, but, like many of you, I have fond memories of some of her more mainstream career highlights.

As a little tacker, I remember watching the 1980 movie 9 to 5, in which she starred. It remains one of the first movies I recall seeing. Her title track was a huge hit and saturated the airwaves. It was fun revisiting the official video, featuring scenes from the movie, which I hadn’t seen since way back then.

A couple of years later, in 1983, came her monster duet hit with another recently departed country icon, Kenny Rogers. The song, Islands in the Stream, was written by the Bee Gees. Someone left this lovely comment: “I bet these two are performing this in heaven right now.”

Then, in 1992, came the release of The Bodyguard, starring pop diva Whitney Houston. I was on two weeks’ leave in Singapore when I saw the movie with a work colleague. The mega-hit song from it, of course, was Whitney’s version of I Will Always Love You.

A lot of people didn’t know at the time, including yours truly, that the song was written and originally recorded by Dolly Parton in 1973. On a side note, isn’t it bizarre to think we live in a world without either Dolly or Whitney in it?

Over the decades, I’ve listened to Dolly’s original many times, and I now consider her country-steeped version the only one I’m settled on listening to for the remains of the day. This song will always be Dolly’s.

I regret that this post comes nowhere near doing justice to Dolly’s long and illustrious career or her extraordinary philanthropic work. But in the little I’ve encountered of her music, the impact has been pretty BIG. Frankly, I just feel privileged and grateful to have a post with her name attached to it.

Rest in peace, Dolly.

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

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

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

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

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

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

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

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

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Más Allá o Más Acá – Trotsky Vengarán

Posted on October 13, 2026 by observationblogger — Leave a comment

Have you ever listened to rock music from Uruguay? Well, if not, you’re about to. Woohoo!

Over the weekend here in Bogota, the outdoor event Rock Al Parque was held, where multiple big Latin American and international acts performed. I didn’t go in person, but yesterday, while channel-zapping during the ads in the Cleveland – Tampa Bay baseball game, I stumbled across the live broadcast. So I switched between that and the baseball.

It was a bit of a bummer for the revellers that the festival was rained on all weekend, but given the incipient drought here, partly due to the El Niño effect, and the super-low dam water levels in Colombia, I don’t think you’ll find too many complaints. Hey, those in the mosh pits couldn’t have given two hoots. They looked ecstatic getting drenched.

One of the acts I immediately enjoyed watching was today’s featured group, Trotsky Vengarán (roughly, Trotsky Will Take Revenge). Having majored in Political Science, with a particular focus on the Bolshevik Revolution, I couldn’t help but raise a wry smile when I saw the Uruguayan group’s name.

Trotsky was one of the leading figures of the Bolshevik Revolution and the early Soviet state. He fell out with the party leadership, particularly Stalin, and eventually fled to Mexico, where he was tracked down and assassinated.

Back to the music… Trotsky Vengarán have a punk rock, alternative rock sound. If you could fuse the music of Green Day and The Offspring and give it a Latin American coating, this is what the hybrid might sound like. Their Wikipedia page says they were influenced by groups such as the Ramones, Beastie Boys, AC/DC and the Sex Pistols, as well as other bands from the 1950s and 1960s.

I can be quite fickle and selective when it comes to music, but when I dug deeper into Trotsky’s catalogue this morning, I was more than pleasantly surprised by everything I heard. I tell you what, that doesn’t happen often. No siree – Hallelujah!

Listening to this music transported me back to my 20s, around the time the Seattle alternative rock and grunge scene was taking the world by storm. My mates and I were reveling in it at the clandestine music joints in Canberra, Australia. This is the sort of music I would have revelled in back then, and it made me happy to see the young Latin American kids pogo dancing to it yesterday. Whole new generations can enjoy and savour this music and, decades from now, remember it fondly, just as I do the music scene of the early 1990s.

So, it didn’t surprise me to learn that Trotsky Vengarán emerged from Montevideo’s underground music scene in the early 1990s, in the years following Uruguay’s military dictatorship. The band formed in 1991 and has now been around for more than 30 years. It has earned a place among Uruguay’s most popular rock bands, with a loyal fanbase that packs out its shows.

The band has performed in Paraguay, Mexico, Chile, Argentina and Colombia. It was in Colombia that they recorded their live album, Una noche de rock en Medallo. Recorded in Medellín, the album captures the energy and festive atmosphere Trotsky generates at its concerts.

Today’s song Más Allá o Más Acá (Eng: Beyond Here or Beyond There) appears on the band’s album Relajo Pero Con Orden, released in 2016. The lyrics are really good. Check ’em out below if you have a sec.

There will be other songs by Trotsky Vengarán that I’ll try to fit in here (along with more information about the band) as we turn the corner and make our way down the home straight of this Music Library Project. Oh, wow, that brings to mind the announcer’s call, ‘Race is Go Now!’, from the classic Australian film Phar Lap. I won’t cry, folks.

No creo en el destino, no creo en la suerte / I don’t believe in destiny, I don’t believe in luck.
No creo en la justicia de la ley del más fuerte / I don’t believe in the justice of the law of the strongest.
No le creo al rebaño, ni al lobo, ni al pastor / I don’t believe in the flock, nor the wolf, nor the shepherd.
No creo ni en mis ojos, pero creo en vos / I don’t even believe my own eyes, but I believe in you.

Más allá del tiempo, más allá de la sangre, de la belleza, de las promesas / Beyond time, beyond blood, beyond beauty, beyond promises.
Quiero que te acuerdes de esto que te digo / I want you to remember what I’m telling you.
Donde el viento te lleve, yo voy contigo / Wherever the wind takes you, I’ll go with you.

Y si la confianza te deja tirilla / And if trust leaves you worn out and threadbare.
Si el desengaño no te deja hacer pie / If disillusionment leaves you unable to find your footing.
Cuando la mano venga jodida / When things get really rough.
Y la angustia te ponga contra la pared / And anguish backs you against the wall.

Más allá de la rabia, más allá de la ira / Beyond rage, beyond anger.
De la venganza, de las mentiras / Beyond revenge, beyond lies.
Quiero que te acuerdes, esto que te digo / I want you to remember what I’m telling you.
Donde el viento te lleve, yo voy contigo / Wherever the wind takes you, I’ll go with you.

Y más allá o más acá / And whether it’s farther away or closer to home.
Acordate que yo creo en vos / Remember that I believe in you.

References:
1. La Música del Día: Trotsky Vengarán, más allá o más acá – En Perspectiva

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’74 -´75 – The Connells

Posted on October 11, 2026 by observationblogger — 4 Comments

I’ve never deliberated so much over whether to feature a song here as I have with ’74–’75 by The Connells. I’ve had it in my collection for years, but could never really connect with it, feeling out of the loop somehow. The thing is, it’s not the song’s fault. The song sounds cool enough, and the last few times I’ve heard it, I’ve enjoyed it, but I don’t know why, and still don’t.

As I write this, I’m still ambivalent about whether to let her rip. Usually, I have a strong personal connection to a song and / or can relay stories, background and interesting aspects about the artist and song. But here, I’m as clueless as Manuel in Fawlty Towers – ‘I know nothing‘. Ah, what the heck! Let’s give it a go and finally put an end to all this umming and ahhing.

As I read the lyrics below, I’m as much perplexed as ever about the meaning and purpose of the song. Then there’s the music video, which shows people alongside their old high school yearbook photos, and my ‘What the F&ck?’ factor goes up another notch. But alas, we may finally have some resolution to the mystery in the official video description. Oh, the moment of truth! Here we go…

‘The song nostalgically reflects on the passing of time and how people change across decades. The music video, directed by Mark Pellington, features students from Needham B. Broughton High School’s Class of 1975 and compares the photographs from their yearbook, with how they look and have aged since then‘

Well, that’s a relief! Finally, after all these years of being in the dark, I can now rest a little easier knowing the grand aspirations and intent behind ’74–’75. Even rereading the lyrics with this in mind, though, still leaves me in a semi-detached state of bewilderment. All I can say is, well, ‘That’s a bit of a stretch, The Connells‘. I feel like calling them the ‘O’ Connells’ – O, don’t ask me why.

Anyway, what do I know, folks? This song has over 17 million views. Sweet! When it’s all said and done, I’m just gonna be glad to get this song off my books. It’s been like having a shitty ex-girlfriend still hanging around. Now I can finally be left in peace!

Funny how this song didn’t chart in the US but reached the top 10 in so many European countries. Could that be because English isn’t their first language? Since the American band The Connells never had another hit of comparable success, they’re widely seen as a one-hit wonder – or a one-night stand, to put it another way.

PS. I hope you guys know I’m just being facetious. I’m in a silly mood this morning and have had too much coffee. I’ve written some offbeat posts before, but this has to be right up there. Obviously, there’s stuff I need to get off my chest, and these guys bore the brunt of it, even if much of what I’ve written does ring true to me. I’m a piece of work, y’all.

[Verse 1]
Got no reason
For coming to me in the rain, running down
There’s no reason
And the same voice
Coming to me like it’s all slowin’ down
And believe me

[Chorus]
I was the one who let you know
I was your sorry ever after, ’74-’75

[Verse 2]
It’s not easy
Nothing to say ’cause it’s already said
It’s never easy
When I look on in your eyes, then I find that I’ll do fine
When I look on in your eyes, then I’ll do better

[Chorus]
I was the one who let you know
I was your sorry ever after, ’74-’75
Giving me more and I’ll defy
‘Cause you’re really only after, ’74-’75

[Verse 3]
Got no reason
For coming to me in the rain, running down
There’s no reason
When I look on in your eyes, then I find that I’ll do fine
When I look on in your eyes, then I’ll do better

[Chorus]
I was the one who let you know
I was your sorry ever after, ’74-’75
Giving me more and I’ll defy
‘Cause you’re really only after, ’74-’75
I was the one who let you know
I was your sorry ever after, ’74-’75
Giving me more and I’ll defy
‘Cause you’re really only after, ’74-’75

[Outro]
’74-’75
’74-’75
’74-’75

References:
1. ’74–’75 – Wikipedia

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Symphony No 3 In A Minor (Scottish) Op 56 – Mov. 2 Vivace Non Troppo – Felix Mendelssohn

Posted on October 10, 2026 by observationblogger — Leave a comment
Drawing of the composer by Eduard Bendemann, 1833 (Wikipedia)

For some inexplicable reason, I’d overlooked this Mendelssohn piece for years. Having listened to it again recently, I can say it’s grown on me considerably. This second movement from his Symphony No. 3 is a brisk and chirpy piece, so dainty as it tiptoes and prances the listener into a delectable state. I also found that certain parts evoked such alluring and heartfelt memories of scenes from childhood. And it has a dazzling ending to die for. Truly spectacular!

As mentioned, the second movement of Symphony No. 3 scoots along at such a glorious pace. It has me bopping along in my chair as I listen to it right now. Interestingly, this movement has the Italian music direction – Vivace non troppo meaning “lively, but not excessively fast”. You learn something every day, huh?

The German composer Felix Mendelssohn composed it between 1829 and 1842, having set it aside in 1831 after struggling with it. It eventually premiered on 3 March 1842 at the Leipzig Gewandhaus.

This is the second piece by Mendelssohn to feature here, following his The Hebrides (Overture), which was inspired by his visit to the western coast of Scotland and the island of Staffa. Mendelssohn certainly had an affinity with Scotland, since this symphony was also inspired by the country, specifically his visit to the ruins of Holyrood Chapel at Holyrood Palace in Edinburgh on 30 July 1829.

He related the following to his family in a letter:

In the deep twilight we went today to the palace where Queen Mary lived and loved…The chapel below is now roofless. Grass and ivy thrive there and at the broken altar where Mary was crowned Queen of Scotland. Everything is ruined, decayed, and the clear heavens pour in. I think I have found there the beginning of my “Scottish” Symphony

I hope to visit Scotland one day with my children, since my paternal great-grandparents emigrated to Australia from there. My great-grandfather worked at one of the oldest golf courses in the world, the famous and illustrious St Andrews golf course. I’ve always been fascinated by the history, culture and music of Scotland, and feel so romantically drawn to the place.

Even when it comes to today’s musical piece, it’s said that audiences have found it hard not to hear it as evoking the wild Romantic landscapes of the north. I’m with that lot. A Scottish gent in the comments even wrote:

I’m Scottish and absolutely love this work. Completely encapsulates the feeling of the place .. amazing all round.

But I’m about to rain on everyone’s parade, thanks to Wikipedia, which states:

Intriguingly, despite describing the work as his ‘Scottish Symphony’ to his family in 1829, by the time the work was published in 1842 Mendelssohn never publicly called attention to the symphony’s Scottish inspiration, and it is debatable whether he intended the finished work to be considered ‘Scottish’.

Well, whatever, Wiki! I’m going with what Mendelssohn wrote in that charming and dreamy letter to his family -‘Everything is ruined, decayed, and the clear heavens pour in’. I’m declaring it ‘Scottish’, and that’s that.

References:
1. Symphony No. 3 (Mendelssohn) – Wikipedia

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