She’s A Rainbow – Molly Tuttle (The Rolling Stones)

Posted on November 7, 2026 by observationblogger — 2 Comments

I don’t think I’m up for smashing the patriarchy as seen in the video below, but I sure do like this song.

It was only a short while ago that I featured the Californian singer-songwriter Molly Tuttle, but I couldn’t wait any longer to present her rendition of the Rolling Stones’ She’s a Rainbow. So today is a double billing of sorts, killing two birds with one song article, with both versions presented at the end of this post.

Somewhere in the deep recesses of my musical memory, I recall hearing the Stones’ original, but when I heard Tuttle’s take, I immediately downloaded it. Not to take anything away from the Stones’ stellar original, but I love the effervescent, feel-good sound of Tuttle’s version. It’s bursting with light and definitely lives up to the lyric, ‘She’s like a rainbow – coming colours in the air’.

Molly is a really excellent guitarist who grew up as a musical prodigy, performing from the age of 11 alongside her father, Jack Tuttle, a veteran bluegrass instructor. Speaking of which, her version of She’s a Rainbow is a vibrant, bluegrass-influenced cover of the classic Rolling Stones song. It was released as a single and featured on her 2020 pandemic-inspired covers album, But I’d Rather Be with You.

Tuttle was diagnosed with alopecia areata when she was three years old, which quickly progressed to alopecia universalis, resulting in total body hair loss. She often performs live wearing a wig, as you can see in the music video below. She also introduced a feminist spin to her version of the song.

“She’s a Rainbow” featured on The Rolling Stones’ 1967 album Their Satanic Majesties Request. Can you get a naughtier, more quintessentially British title than that?

It has been described as “the prettiest and most uncharacteristic song” Mick Jagger and Keith Richards wrote for the Stones, although I’d argue that As Tears Go By, which became a huge hit for Marianne Faithfull, is even prettier and more uncharacteristic of their work.

She’s a Rainbow was released as a single in November 1967 and went to No. 25 in the US.

She comes in colors everywhere
She combs her hair
She’s like a rainbow
Coming colors in the air
Oh, everywhere
She comes in colors

She comes in colors everywhere
She combs her hair
She’s like a rainbow
Coming colors in the air
Oh, everywhere
She comes in colors

Have you seen her dressed in blue?
See the sky in front of you
And her face is like a sail
Specks of white so fair and pale
Have you seen a lady fairer?

She comes in colors everywhere
She combs her hair
She’s like a rainbow
Coming colors in the air
Oh, everywhere
She comes in colors

Have you seen her all in gold?
Like a queen in days of old
She shoots colors all around
Like a sunset going down
Have you seen a lady fairer?

She comes in colors everywhere
She combs her hair
She’s like a rainbow
Coming colors in the air
Oh, everywhere
She comes in colors

References:
1. Molly Tuttle – Wikipedia
2. She’s a Rainbow – Wikipedia

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Symphony No. 94 (Surprise) – Joseph Haydn

Posted on November 6, 2026 by observationblogger — Leave a comment

Listen to this through headphones at high volume at your own peril.

Much of the following is drawn from the Wikipedia reference below.

The nickname of Haydn’s Symphony No. 94 – “Surprise” – did not originate with the Austrian composer himself, but you can hear why it was given that name at 0:46. The surprise arrives in measure 16, when the rest of the orchestra joins the first violins in a sudden, thunderous chord.

It’s like – ‘You’re not sleeping in my orchestra‘! Who would’ve thought jump scares dated back to the 18th century?

Haydn’s music contains many jokes, and the Surprise Symphony includes probably the most famous of them all. The music then returns to its original quiet dynamic, as if nothing has happened, and the ensuing variations do not repeat the joke.

His biographer Georg August Griesinger asked him whether he wrote this “surprise” to awaken the audience.

Haydn replied:

No, but I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London (in 1792) and whose concerts had opened a week before mine, should not outdo me. The first Allegro of my symphony had already met with countless Bravos, but the enthusiasm reached its highest peak at the Andante with the Drum Stroke. Encore! Encore! sounded in every throat, and Pleyel himself complimented me on my idea.

The symphony remains popular today and is frequently performed and recorded. It is perhaps Haydn’s best-known work of the genre. For much of his career, Joseph Haydn was among the most celebrated composers in Europe. He was a friend and mentor to Mozart and a tutor to Beethoven. Who wouldn’t kill to have that on their CV? Haydn was hugely impressed with Mozart’s work and praised it unstintingly to others. Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now known as the “Haydn” quartets, to his friend.

Haydn wrote the symphony in 1791 in London for a concert series he gave during his first visit to England (1791–1792). The premiere took place at the Hanover Square Rooms in London on 23 March 1792, with Haydn directing the orchestra from the fortepiano (pictured inset).

References:
1. Symphony No. 94 (Haydn) – Wikipedia

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Raining in My Heart – Buddy Holly

Posted on November 5, 2026 by observationblogger — 8 Comments

“From the moment I first heard him, I felt akin. I felt related, like he was an older brother. I even thought I resembled him.“

Bob Dylan on Buddy Holly (2017 Nobel Lecture)

After Bob Dylan’s unexpected visit to Pope Leo yesterday, it’s fitting we turn to one of Dylan’s idols, Buddy Holly, whose influence helped shape him as an artist before he was ready to fly the coop and embark on his own musical odyssey.

Dylan recalled in his 2017 Nobel Lecture seeing Buddy perform shortly before that fateful plane crash which took the lives of Holly and two other burgeoning young artists, Ritchie Valens and The Big Bopper.

Dylan described Holly’s music as a fusion of country, rock ‘n’ roll and rhythm and blues, adding:

“He was the archetype. Everything I wasn’t and wanted to be.“

Dylan then described the extraordinary experience of seeing Holly live:

“He looked me right straight dead in the eye, and he transmitted something. Something I didn’t know what. And it gave me the chills.“

Dylan said that a day or two later, Holly’s plane went down in 1959.

Imagine what Buddy would have sounded like in 1969?! He’s one of the brightest stars in the galaxy of rock and roll legends. Such a huge tragedy in music. Gosh, what a shame to have lost him at such a young age.

Buddy is yet another artist whose music I never expected to feature so prominently here when I set sail on the Music Library voyage. While researching Buddy’s music, I came across more songs that I couldn’t resist adding. The Project has been teeming Buddy Holly songs since, and Raining in My Heart is another to join the list.

This song has got a vintage 50s, dainty Christmas vibe to it, with its prancing strings and lush orchestral backing. The song’s gentle, almost cheerful musical setting contrasts with its theme of internal heartbreak. It’s lovely stuff.

Song Description from YT:
“Raining in My Heart” written by Felice and Boudleaux Bryant was recorded during the same session as “True Love Ways” on October 21, 1958, at the Pythian Temple Studio in New York City with Dick Jacobs’ orchestra. It was released as a single on Coral Records on January 5, 1959 peaking at No. 88 on the Billboard charts as the B-side of “It Doesn’t Matter Anymore“.


The sun is out
The sky is blue
There’s not a cloud
To spoil the view
But it’s raining
Raining In My Heart

The Weather Man
Says “Clear today”
He doesn’t know
You’ve gone away
And it’s raining
Raining In My Heart

Oh misery – misery
What’s gonna become of me

I tell my blues
They mustn’t show
But soon these tears
Are bound to flow
Cause it’s raining
Raining In My Heart
Raining In My Heart
Raining In My Heart

References:
1. Raining in My Heart – Wikipedia

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Superman II – Main Title Sequence – Ken Thorne (adapting John Williams’ original score)

Posted on November 4, 2026 by observationblogger — 2 Comments

I could have dedicated an entire offshoot of the Music Library Project to John Williams’ film scores alone, since they’re in many ways the soundtrack to the lives of Baby Boomers and subsequent generations. I mean, you couldn’t get music more joined at the hip with film, and such is its prominence not just in cinema but in mainstream Western pop culture that it boggles the mind to imagine a world without John Williams’ music.

I don’t know what the catalyst was yesterday that brought today’s music sequence to mind, but I’m sure glad it did, given my deep affection and adoration of it since I first heard it as a wee-tacker. I can’t think of another movie I watched more than Superman II growing up, and my favourite part above all others is the ‘Main Title Sequence’ seen below.

The sequence itself is a visually stunning montage of the original Superman movie, serving as a recap for audiences. But the real clincher for me is the spectacularly inspiring music, brilliantly arranged and realised by Ken Thorne, who adapted John Williams’ original score. It remains one of my favourite movie opening sequences.

The music is just so timeless, heroic, uplifting and reassuring. This is my Desert Island music choice from John Williams if I were forced to take just one piece above all others. The closing sequence of E.T. follows closely on its heels in my ultimate selection, since I love that one so much too. What would be your choice from his crazy vast catalogue of movie scores?

What still makes the hairs on my arms stand on end, even after all these years, is the opening moment when Superman’s baby capsule shatters the glass ceiling (0:40) after launch, followed by that riveting trumpeting passage and the violins used to such escalating effect. I wish I had a dollar for every time I rewound that part on the old VHS machine, or even now on YouTube.

You can find the introduction sequence below, along with a brief video of John Williams talking about the making of the score. As always, thanks for reading and listening, folks.

References:
1. Music of Superman – Wikipedia

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Thunder – Imagine Dragons

Posted on November 3, 2026 by observationblogger — 2 Comments

I passed this one over in favour of Imagine Dragons’ Demons, which I presented back in 2022. But when my 11-year-old daughter Katherine and I heard Thunder come on from my music library collection this Halloween weekend, I figured we should give this one a proper airing. So here we are today. I’m not a big mega-pop mainstream enthusiast, but Thunder hit all my right buttons upon rehearing it.

As you can see (click to expand), Kath went as Ghostface from Scream and enjoyed a very generous treat from an ice creamery: cinnamon roll with white chocolate and Chantilly cream. I think she counted over 140 candies in her bag after her trick-or-treating haul. I couldn’t believe her good fortune.

Later on Saturday evening, we watched the original Halloween and A Nightmare on Elm Street, the first instalments in their respective series. Nothing, but the best!

Thunder is a dynamic and musically charged song, with its echoing vocals creating the effect of thunder and a machine glitching, all set against a distinctive rhythm and electro-pop sound. It’s highly original in the way it creates such a triumphant and energetic mood while building tension.

You can understand why it’s been lapped up by all and sundry. At the time of writing, it has an extraordinary 2.4 billion views on YouTube and continues to be heard far and wide across pop culture.

Thunder was released in 2017 on the American rock band’s third studio album – Evolve. It reached No. 4 on the US Billboard and became the band’s fourth single to reach the top ten after “Radioactive”, “Demons” and “Believer“.

References:
1. Thunder (Imagine Dragons song) – Wikipedia

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Hoppípolla – Sigur Rós

Posted on November 2, 2026 by observationblogger — Leave a comment

Oh, how I have been chomping at the bit to present another song by the Icelandic group Sigur Rós. One of my all-time favourite instrumentals is their mystical and ethereal wonder, The Nothing Song, which featured in Cameron Crowe’s Vanilla Sky.

So, when I was rewatching another of Crowe’s films, the feel-good family movie We Bought a Zoo, I couldn’t help but be swept up in the soundtrack, which once again brought me back to Sigur Rós, this time through the music of their lead singer, Jón Þór “Jónsi” Birgisson.

You have to hand it to Cameron Crowe for his knack for creating movies with some of the most stellar and enduring soundtracks out there, including Jerry Maguire, Almost Famous and Vanilla Sky, which have featured time and again in this blog. We Bought a Zoo sits comfortably in that esteemed list, mostly due to Jónsi’s (Sigur Rós) contributions. A future article will be dedicated to a special few of his instrumentals, but today we’ll look at just one song.

One thing Sigur Rós is certainly not short on is originality, and today’s featured track, “Hoppípolla”, like The Nothing Song, sounds like a musical transmission from an advanced alien civilisation. And would you believe it, the song has also featured in trailers for the Planet Earth series. It’s beyond curious music, and I feel grateful to have it in my collection and to be able to come back to it.

“Hoppípolla” is Icelandic and means “hopping in puddles”. It’s about the carefree time of childhood, when one can find great joy and freedom in jumping in rain puddles.

I couldn’t help but think of Peppa Pig when I read this and reminisce about the days when I put that show on to help students learn English as a Second Language. They nicknamed me ‘Peppa Kick’, given my surname and my fondness for using the show in class to help with comprehension..

Most of the lyrics in Hoppípolla are in Icelandic, but there are also some nonsensical phrases, a “language” the band calls Vonlenska (“Hopelandic”). The song was given the nickname “The Money Song” by the band because it was envisioned to be a commercial success. Right they were, since it became the band’s most successful single, reaching No. 24 in the UK in 2006.

(Wikipedia) The band members are featured in the video below: keyboardist Kjartan Sveinsson plays the victim of a Knock, Knock, Ginger trick; guitarist and vocalist Jón Þór Birgisson plays the cashier at a shop where an old man steals and eats some pears; drummer Orri Páll Dýrason can be seen repairing his bicycle; and bassist Georg Hólm can be seen cleaning.

Smiling
We spin in circles
We hold hands
The whole world is blurry
Except you, standing

Soaking wet
Completely drenched
With no rubber boots
Running into us
Wanting to spring out of a shell
The wind
And the outdoor smell of your hair
I hit as hard as I can
With my nose

Jumping into puddles
With no boots
Completely drenched
Soaked
With no boots

And I get a nosebleed
But I always stand up

[Hopelandic]

And I get a nosebleed
But I always stand up

[Hopelandic]

References:
1. Hoppípolla – Wikipedia

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Insecure – The Violet Archers

Posted on October 30, 2026 by observationblogger — Leave a comment

It’s nice to put your feet up every now and again and hand it over to someone else, which is what I’m going to do today. Also, I ran out of coffee this morning, which is as good as an umpire coming in, hand-signalling “time out”, then grabbing me by the scruff of the neck and dragging me away from the desk.

Below is fellow blogger friend Steve’s post about today’s featured song, Insecure (2008) by The Violet Archers. For me, it was love at first listen. It boggles my mind how few views the song has after 14 years on YouTube. How are people not listening to this an obscene amount?

I’m just going to come out and say it: I think Insecure is an instant indie-pop classic. As I commented to Steve, the song sounds like what you’d get if you blended the pop sensibilities of two of the finest female-led indie groups around today, Alvvays and The Beths, and threw in a bit of boygenius for good measure.

What’s most impressive is that the Canadian band The Violet Archers predates all these acts, almost as if they were an obscure pioneering group heralding a sound that would take indie pop by storm over the following couple of decades.

I’ve, of course, added the song at the end of the post, but give Steve’s page a gander – you’re sure to find some pretty good stuff there.

Thanks for popping in, as always. Y’all have a great weekend!

Insecure

References:
1. The Violet Archers – Wikipedia

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No Señor, Yo No Me Casaré – Veronica Castro

Posted on October 29, 2026 by observationblogger — Leave a comment

Ever since I first heard “No Señor, Yo No Me Casaré” (Eng: “No, Sir, I Won’t Get Married”), I’ve been charmed by its cheeky and playful expression, helped along by those jaunty mariachi trumpets and upbeat rhythm. It’s rooted in Mexican folk music and is a popular dance song with a polka-like rhythm and some of the cultural flavour of traditional Mexican ranchera music.

The teasing lyrics are to die for, as the woman, despite being in love, chooses to maintain her freedom and enjoy life rather than commit herself to marriage. Finding and translating the lyrics took me longer than any other song so far. I wouldn’t say the translation is 100% correct, though I believe it’s sound. Overall, the lyrics are such an enjoyable read, as is the song itself, of course!

“No, sir, I won’t get married;
that’s what I tell the priest, and that’s what I tell the judge.
No, no, no, no, sir, I won’t get married;
I’m in love, but I’ll hold myself back.”

“No Señor, Yo No Me Casaré” is one of the most memorable songs performed by the iconic Mexican actress, singer and television host Verónica Castro (see video below). I couldn’t find a release date for her version, but an earlier related version, “Yo No Me Caso, Compadre” (Eng: “I’m Not Getting Married, Buddy”) is credited to Sebastián Curiel in the UCLA Frontera Collection and is listed among songs from 1959.

No Señor, No Me Casaré / No, sir, I will not marry
Así le digo al cura / That’s what I’ll tell the priest
Y así le digo al juez / And that’s what I’ll tell the judge
No, no, no, no, señor, no me casaré / No, no, no, no, sir, I will not marry
Yo estoy enamorada / I am in love
Pero me aguantaré / But I’ll hold myself back

Yo no me caso / I’m not getting married
Compadre querido / My dear friend
Porque la vida / Because life
Es puro vacilón / Is just one big lark
No puedo hallar / I can’t find
El amor consentido / The love I truly desire
Que sea la dicha / The one that will bring happiness
De mi corazón / To my heart

Por eso quiero / That’s why I want
Pensar un poquito / To think things over a little
Pa’ no meter / So I don’t end up putting
Las cuatro patas / All four feet
De un jalón / In it at once

Si al encontrarme un amor / If, when I find someone to love,
Le digo vengase usted / I tell him, ‘You come on over, then
Si al rato digo, pos’ no” / “What if later on I say, ‘Well, no’?
Pos no se puede / Well, that just won’t do
Y si me quiere amarrar / And if he wants to tie me down
Le digo no, no podré / I’ll tell him, “No, I can’t”
Mejor se busca por ahí / You’d be better off looking elsewhere
Otro querer / For someone else to love

No, señor, yo no me casaré / No, sir, I will not marry
Así le digo al cura / That’s what I’ll tell the priest
Y así le digo al juez / And that’s what I’ll tell the judge
No, no, no, no, señor, no me casaré / No, no, no, no, sir, I will not marry
Yo estoy enamorada / I am in love
Pero me aguantaré / But I’ll hold myself back

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Together in Electric Dreams – Philip Oakey & Giorgio Moroder

Posted on October 28, 2026 by observationblogger — 2 Comments

Yesterday afternoon, I was watching the aftermath of Fleetwood Town’s spectacular victory over Arsenal in the Carabao Cup, arguably one of the biggest upsets in cup history. There is an 84-place gulf between the two clubs, with Arsenal’s squad being roughly 500 times more valuable than that of Fleetwood, a club from a small seaside town in Lancashire.

As the Fleetwood crowd poured onto the pitch to celebrate the greatest victory in the club’s history, today’s featured track, Together in Electric Dreams, came on the speakers. Oh yes, I thought, what a blast from the past! This is the preeminent infatuation song I remember from my youth.

I went looking for my article on it here, hoping to draw on what I’d written before and soak up the nostalgia. But lo and behold, I couldn’t find it. I was sure I’d written about it given my soft spot for the song. So I checked again and again, even triple-checking this morning, but nope. I’m so peeved at myself for not having included this 1984 gem in my collection and for having come so close to letting it fall through the cracks.

I always got a real buzz from the electric pop and synths in Together in Electric Dreams. It’s got a sparkling, effervescent sound that I really like. It was composed by the Italian composer Giorgio Moroder, who also provided the electronic music for the wildly successful film Flashdance.

The song was released to promote the film Electric Dreams, but the song quickly overshadowed the film. It was sung by Philip Oakey, the lead singer of the British synth-pop band the Human League, who gave us their own cool and sexy 1981 hit, Don’t You Want Me which featured here in February, 2025.

Together in Electric Dreams is yet another hugely popular track that makes me wish they’d added another verse, as that’s easily the best part of the song. Oakey’s deadpan, slightly detached emotional delivery really lends itself to the song somehow. Unfortunately, they doubled down on the chorus rather than adding another verse, as is often the case with commercially successful songs that favour a catchy, easy-on-the-ears appeal.

I expressed that same frustration with another hugely popular ’80s track, Nothing’s Gonna Stop Us Now by Starship. Nuance isn’t these songs’ strong suit, unlike the criminally overlooked 1983 song Moonlight Shadow by Mike Oldfield.

Together in Electric Dreams reached No. 3 on the UK Singles Chart, spending 13 weeks in the chart, and also reached the top five in Australia.

[Verse 1]
I only knew you for a while
I never saw your smile
‘Til it was time to go
Time to go away
(Time to go away)
Sometimes it’s hard to recognize
Love comes as a surprise
And it’s too late
It’s just too late to stay
Too late to stay

[Chorus]
(Love never ends)
We’ll always be together
However far it seems
(Love never ends)
We’ll always be together
Together in electric dreams

[Verse 2]
Because the friendship that you gave
Has taught me to be brave
No matter where I go
I’ll never find a better prize
(Find a better prize)
Though you’re miles and miles away
I see you every day
I don’t have to try
I just close my eyes
I close my eyes

[Chorus]
(Love never ends)
We’ll always be together
However far it seems
(Love never ends)
We’ll always be together
Together in electric dreams
(Love never ends)
We’ll always be together
However far it seems
(Love never ends)
We’ll always be together
Together in electric dreams

[Chorus]
We’ll always be together
However far it seems
(Love never ends)
We’ll always be together
Together in electric dreams
(Love never ends)
We’ll always be together
However far it seems
(Love never ends)
We’ll always be together
Together in electric dreams…

References:
1. Together in Electric Dreams – Wikipedia

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Broken Time – Tom Smith

Posted on October 27, 2026 by observationblogger — 2 Comments

Solemn in its approach, Broken Time is a powerfully reflective and inspirational song released in December 2025. Listening to it on my walkabouts yesterday, I found myself drifting into a blissful state, reflecting on just how beautiful life can be. What I love most about this song are the melodic violin refrains first appearing at 0:50 and again at 1:40.

Broken Time is one of those songs I wish were a lot longer. Tom Smith’s drawn-out delivery of the two syllables in ‘Fractures…‘ as the song closes resonates so strongly. Luckily, there’s always the repeat option.

The English artist explores fractured relationships and how time can feel broken, and acknowledging that we are all flawed. Yet there’s a light in the cracks, which seems to be a common epiphany in some other songs presented here, like Leonard Cohen’s Anthem and Lana Del Rey’s Kintsugi.

Even Tom Smith’s solo album is called There Is Nothing In The Dark That Isn’t There In The Light, which leaves me a bit befuddled, but I think I get the drift.

Tom Smith is best known as the lead vocalist, songwriter, keyboardist and rhythm guitarist of Editors, a British alternative rock and post-punk revival group he co-founded in 2002. After more than 20 years with Editors, Smith released his first solo album.

While researching this article, I came across a video released just 10 days ago by Editors, simply titled Bogotá. That’s where I live! It shows the band touring here, with clips of their performance at Rock al Parque 2026 just two weeks ago. It’s a major music festival here in Bogotá. You can find their entire performance from 12 October, 2026 here.

It’s uncanny, as I’ve just written about Rock al Parque, highlighting the Uruguayan band Trotsky Vengarán, who also performed there.

Small music world, folks!

Don’t wait to break, to push back on the pain
Let it know you’re not easy pray
The word, the glance, marbles in your hand
Roll ’em ’round and let go when you say

That it ain’t over
We ain’t flawless by design
Through all these fractures
Our love has broken time

We stand before a garden full of life
All that’s done, all that’s left behind
A breath, a pulse, a shelter in the heart
Sudden rain that splinters, then combines

It ain’t over
We ain’t flawless by design
Through all these fractures
Our love has broken time

Don’t wait to break
Don’t wait to break

It ain’t over

It ain’t over
We’re not perfect by design
All these fractures
And our love has broken time

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