Raining in My Heart – Buddy Holly

Posted on November 5, 2026 by observationblogger — Leave a comment

“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 violin passage and its 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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I Got You Babe – Sonny & Cher

Posted on October 26, 2026 by observationblogger — 6 Comments

This song had a two-pronged effect on me when I had just started high school. Firstly, I had this innocent crush on a girl with strawberry-blonde hair and freckles who was in an older grade and played tennis at our club. I’ve always had a thing for freckles and could never understand why they were sometimes considered anything but beautiful. Secondly, today’s featured classic 60s romantic escapade about young love became inseparable in my mind from this girl, who hardly knew or recognised me.

So strong was the connection between the song and this girl that they’ve remained almost like one and the same thing in my mind. It also planted the idea that even a young love could blossom into something lasting that couldn’t be taken away. So my little infatuation felt like something more than it really was.

The love, in my case, didn’t even exist, of course, but in my silly mind, the song made it feel real. Looking back, I can see how it became an anthem of sorts for the emerging hippie counterculture, with its message that love could conquer all, including the grown-up naysayers and financial constraints.

They say we’re young and we don’t know

They say our love won’t pay the rent

On the face of it, Sonny and Cher did have a good run as a young, famous married couple, staying together for around ten years. However, Cher later described the marriage as emotionally and financially abusive. Sonny apologised to Cher before his death in 1998, acknowledging that he had hurt her.

My crush on both the song and the girl faded almost as quickly as it had formed. I don’t know whether the song’s repetitive use in the morning alarm-clock scenes of Groundhog Day, or Sonny’s rather blatant borrowing of Dylan’s vocal style, had anything to do with it. Perhaps the novelty simply wore off. And where Dylan was lyrically complex, Sonny’s songwriting here was simple and direct.

Speaking of crushes, I recently revisited the incredible 1987 film Moonstruck after a decades-long hiatus in my movie-watching wilderness. It featured in my ‘Friday’s Finest’ movie segment back in 2021.

Cher was phenomenal in it, further cementing her acting credentials by winning the Academy Award for Best Actress. Her beauty, in all its nuanced forms, shines through, from the sensible and conservative Italian fiancée to the besieged, dark-haired woman swept up in a passionate affair. The versatility of this woman’s talent seems to know no bounds.

The following was abridged from the Wikipedia reference:

I Got You Babe was Sonny and Cher’s first single released from their debut album – Look at Us.

Background:
Sonny Bono, a songwriter and record producer for Phil Spector, wrote the lyrics and composed the music of the song for himself and his live-in girlfriend, Cher, late at night in their basement. When Cher was woken up to sing the lyrics, she hated the song, not thinking it would be a hit, and immediately went back to bed

It spent 3 weeks at No. 1 and sold more than one million copies and was certified gold by the RIAA. It also reached number one in the United Kingdom and Canada.

In 2011, the song was named as one of the greatest duets of all time by both Billboard and Rolling Stone magazines.

[Verse 1]
They say we’re young and we don’t know
We won’t find out until we grow
Well I don’t know if all that’s true
‘Cause you got me, and baby, I got you

[Chorus]
Babe
I got you babe, I got you babe

[Verse 2]
They say our love won’t pay the rent
Before it’s earned, our money’s all been spent
I guess that’s so, we don’t have a pot
But at least I’m sure of all the things we got

[Chorus]

[Verse 3]
I got flowers in the spring, I got you to wear my ring
And when I’m sad, you’re a clown
And if I get scared, you’re always around
So let them say your hair’s too long
Cause I don’t care, with you I can’t go wrong
Then put your little hand in mine
There ain’t no hill or mountain we can’t climb

[Chorus]

[Bridge]
I got you to hold my hand
I got you to understand
I got you to walk with me
I got you to talk with me
I got you to kiss goodnight
I got you to hold me tight
I got you, I won’t let go
I got you to love me so

References:
1. I Got You Babe – Wikipedia

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Yesterday’s Men – The Fureys & Davey Arthur

Posted on October 22, 2026 by observationblogger — 2 Comments

The Irish Celtic folk group The Fureys & Davey Arthur are back with another song, Yesterday’s Men. It tells a poignant story of factory closure, redundancy, and the emotional toll on workers left behind. The song reflects the socio-economic struggles of the late 1970s and early 1980s in Ireland and the UK.

The song was composed by the prolific Derry-born songwriter and musician Phil Coulter, who frequently collaborated with The Fureys during this era, and writing many of their songs. He was awarded the Gold Badge by the British Academy of Songwriters, Composers and Authors in October 2009.

Yesterday’s Men is from The Fureys’ 1981 album When You Were Sweet Sixteen, whose title track was featured here back in August. It reached No. 14 on the UK charts and No. 1 in Ireland. When I was a wee lad, I bought the album on a whim, based solely on the cover. It would become one of my most revisited records over the years, and many of its songs have already been presented here.

Yesterday’s Men is a less familiar tune from The Fureys, starting with a spirited piano introduction before settling into a rollicking, bouncy rhythm. You could imagine it fitting in well with the joyous, drink-fuelled celebrations of an Irish tavern, as people sing with abandon and reminisce about the good ol’ days. You can almost taste the froth on top of those pints.

I so enjoy listening to the heavy Irish accents in The Fureys’ songs, and nowhere are they more evident than here. Combine that with Phil Coulter’s colloquial and relatable lyrics, and you’ve got a song that tells its story in a way that feels almost like a conversation. There’s always a story in these songs, delivered so prominently that it feels as though it’s being narrated rather than simply sung. Like our fathers before us we worked there with pride / Now we fought back the bitterness burning inside.

I like to recall sayings such as, “They don’t make songs like this anymore.” Well, that couldn’t be truer in this instance. There’s so much atmosphere in these topical songs that, as a listener, you feel as though you’ve been slung right into the story and its merry accompaniment. I hope songs like this never fade away. They remind us music aficionados who are partial to the songs of yesteryear to keep breathing life into them and passing them on to future generations, so they won’t be forgotten.

‘Twas Joey the weasel that gave us the wire
They were closing our factory down
Though we didn’t believe him and we called him a liar
The redundancy letters came round
As we read them in silence, I choked back a tear
It was hard to believe after twenty-odd years

Chorus
Farewell my companions, my friends and my workmates
Farewell to the paydays, the pints and the craic
Oh, We gave them our best years now they’ve paid us back
By making us yesterday’s men
Sure as hell
By making us yesterday’s men

So We said our goodbyes by the factory gates
One cold Friday evening last year
And I saw it all there in the eyes of ma mates
The anger, the sadness, the fear
Like our fathers before us we worked there with pride
Now we fought back the bitterness burning inside

Chorus

Ah Now Jimmy, said she
Give the kids a few bob
After all, sure it is Friday night
But How could I tell her I was out of a job
From now on things were going to be tight
How well I remember it cut like a knife
I was never a day on the dole in my life

Chorus

The machines now are silent, the workbenches bare
And there’s dust on the factory floor
They’ve boarded the windows and have chained up the gates
And have padlocked the factory door
Now I’m on the scrap-heap, and I’m thirty-nine
Just one of the hundreds, shot down in my prime

Chorus

References:
1. The Fureys – Wikipedia

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