Anne of Green Gables – Kevin Sullivan

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

I revisited this 1985 Canadian made-for-television drama two weekends ago with my daughter Katherine. It was one of the most watched movies in our family while I was growing up, so it will always hold a special place in my heart. I hadn’t seen it in almost four decades, so I was excited to share it with my 10-year-old daughter, who is about the same age I was when I first watched it.

This coming-of-age story about the orphan Anne Shirley is one of the finest examples of storytelling I have ever seen put to screen. I’m no stranger to getting glassy-eyed and shedding a tear during a movie, but I think I set a personal record with this one. There are so many genuine and heartfelt moments that I couldn’t help but be deeply moved seeing it all again, especially through the eyes of my daughter.

IMDB Storyline:
At the turn of the century on Prince Edward Island, Matthew Cuthbert and his sister Marilla decide to take on an orphan boy as help for their farm. But they get an unexpected jolt when they’re mistakenly sent a girl instead: Anne Shirley. Anne’s a dreamer with an unusual point of view, far removed from Marilla’s pragmatic ways, and it’s only on trial that Marilla agrees to keep Anne…if Anne can keep out of trouble, only Anne has a positive genius for it. As Anne falls into a series of scrapes (and off a roof), makes a bosom friend, searches (and finds) several kindred spirits, Matthew and Marilla discover that their lives have become a great deal richer, now that Anne is at Green Gables.

Anne of Green Gables shares such wonderful old-fashioned morals and values through the relatable scrapes Anne finds herself in. You can’t help but wish that more young people today could experience these lessons in such an entertaining and heartfelt way. Originally named simply “Ann”, she insists her name be spelled “Anne” with an “e”, believing it gives her name a little more distinction.

Anne is exceptionally well read, has an imagination that knows no bounds, and is wonderfully curious, sometimes to her own detriment. As the storyline above describes, she often finds herself in the most unlikely predicaments, causing no shortage of worry for her elderly guardians.

But what’s so revealing, and ingeniously counter-intuitive, is that while Anne is surrounded by deeply religious, conservative, and often rigid townsfolk who constantly try to guide her along the straight and narrow, they themselves are gradually transformed by the exuberance of her youth and her vivacious spirit.

Anne speaks her mind, has an enormous heart, and possesses a delightful wit. Through her kindness, affection, and strength of character, many of the older, more reserved townsfolk find themselves learning just as much from her as she learns from them.

As the story unfolds, you gradually see Anne changing the hearts of those around her. The townsfolk become warmer, more expressive, and more compassionate in the way they treat one another. Who would have thought that one spirited orphan girl could have such a profound effect on an entire community?

Although many people simply refer to it as a film, it originally aired as a two-part television mini-series and was later followed by sequels. It is exquisitely photographed on Prince Edward Island. To give you some idea of just how beautiful the cinematography is, I’ve included below the wonderful buggy ride from Bright River Railway Station to Green Gables with Anne Shirley and Matthew Cuthbert.

When Matthew says ‘Green Gables, yonder’; you know you are witnessing ‘greatness’.

The casting also deserves special praise. I honestly can’t imagine a better group of actors bringing these much-loved characters to life. The production is based on the 1908 novel by Canadian author Lucy Maud Montgomery, and many readers believe this adaptation comes remarkably close to capturing the spirit of the book. I’ve even read several IMDb user reviews suggesting that, rare as it is, this may be one of those occasions where the screen adaptation rivals the original novel.

The mini-series first aired on CBC Television on 1 and 2 December 1985, with both parts becoming two of the highest-rated television broadcasts ever shown on a Canadian network at the time.

I couldn’t recommend it more highly to anyone who has yet to see it. And for those who have, I’d love to hear your thoughts.

Thanks, as always, for reading.

References:
1. Anne of Green Gables (1985 film) – Wikipedia
2. Anne of Green Gables – IMDB

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What’ll I Do – Bob Dylan

Posted on August 5, 2026 by observationblogger — 5 Comments

‘I don’t see myself as covering these songs in any way. They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day‘.
– Bob Dylan

Today I present to you one of my favourite latter-day Bob Dylan songs, the beautifully romantic Irving Berlin composition What’ll I Do. It comes from his 2015 record Shadows in the Night, which consists of traditional pop standards associated with Frank Sinatra, chosen by Dylan. It was recorded in 2014 at Capitol Studios in Studio B, where Sinatra often recorded.

When it was announced he was doing what was essentially a traditional crooner standards record, I had to admit I was very sceptical he could pull it off. These songs had been sung by some of the most well-regarded vocalists in contemporary music history. Not only that, but Bob Dylan, at the age of 73, would have to make the extraordinary leap into the world of traditional pop and the Great American Songbook, a genre that up to that point had been so far outside his musical wheelhouse that it made me giddy just contemplating it.

So how did Bob do on Shadows in the Night? Well, I like to recall this quote from The Irish Times, which mirrors my own reaction when I first heard it:

“Those who complain that Dylan can’t sing are treated to a masterclass in timing, phrasing, nuance and interpretation. Even the cracks in his voice leave a poignant trail.”

His renditions of songs like What’ll I Do, Autumn Leaves, Stay With Me, Some Enchanted Evening and the album’s closer, That Lucky Old Sun, were the highlights for me from this wonderful record and contained some of his best work of the 2000s, in my opinion. I was staggered, to put it mildly, and whenever these songs come on my music player I know I’m going to be treated to a masterclass in vocal technique and instrumental subtlety.

On that point, the finesse and nuance of his vocal technique are something to behold. It’s this intimate, almost whispering-in-your-ear delivery, where every intake and exhale of breath makes us think he is singing to each of us individually. Literally so, because if you listen closely enough you can hear his breathing between the lines; now if that isn’t cool! Bob is like an elderly storyteller here, quietly inhabiting the songs rather than simply performing them.

Also, the band’s stunning musicianship could not have suited Bob’s voice any better. Musically, Dylan avoids Sinatra’s lush orchestras. Instead, he uses a small band with pedal steel guitar, upright bass, restrained guitar, and only occasional horns. The result is a cosy, late-night atmosphere that feels almost chamber-like.

The songs were recorded live, with Dylan singing and his five-man touring band performing together in the same room without headphones. The album’s recording engineer, Al Schmitt, stated: “He would listen to the songs over and over and get Sinatra’s intention on what he was doing with the song. Then he would only do two or three takes on each tune, but he would make it his own. It had nothing to do with Sinatra.”

I consider Shadows in the Night a modern masterpiece from Bob – certainly a top-tier album in his catalogue. I think What’ll I Do goes a long way towards demonstrating, in just one song, what is so endearing and timeless about it.

What’ll I do
When you are far away
And I am blue?
What’ll I do?

What’ll I do
When I am wondering who
Is kissing you?
What’ll I do?

What’ll I do with just a photograph
To tell my troubles to?

When I’m alone
With only dreams of you
That won’t come true
What’ll I do?

What’ll I do with just a photograph
To tell my troubles to?

When I’m alone
With only dreams of you
That won’t come true
What’ll I do?

References:
1. What’ll I Do – Wikipedia
2. Shadows in the Night – Wikipedia

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Posted in Music

Walk Like a Man – Bruce Springsteen

Posted on August 5, 2026 by observationblogger — 4 Comments

Walk Like a Man is yet another Springsteen track I’ve added retrospectively after it somehow slipped through the cracks all these years. So I’m trying to make amends now, and I hope I do it some justice. I was so enamoured with it back then in my mid-teens, and having been reunited with it only very recently, I can declare that none of that adoration has waned.

This moving coming of age song from the Boss, as aforementioned, made quite an impression on me and now, with nearly four decades of living under my belt, it’s hard not to be nostalgic when listening to it. As a middle-aged man I can relate directly to many of the lyrics here. Moreover, I find that my leanings towards Bruce’s slower and lesser-known tracks resonate more with me now than they ever have.

Walk Like a Man was released on Bruce’s more introspective and country-tinged 1987 album, Tunnel of Love. It was a strong departure from the hugely successful commercial sound of its predecessor, Born in the U.S.A. Actually, many of the themes that course through Tunnel of Love can also be found on his 1982 acoustic detour, Nebraska.

That record was also not so much about the charts as it was about Bruce channelling some deep and aching memories that, quite frankly, he needed to process and get off his chest. Then, in the wake of his recent marriage to Julianne Phillips, which was very much crumbling at the time he was writing Tunnel of Love, many of the songs on the album became reflections on the difficulties of mature love.

This song, like the album itself, is one of deep introspection for Bruce, and it’s a pleasure to be able to go along for the ride. Now, if only we could turn back time – as one astute listener put it in the comments on this song. I hope Walk Like a Man resonates strongly with you as well. Thanks, as always, for reading.

[Verse 1]
I remember how rough your hand felt on mine
On my wedding day
And the tears cried on my shoulder
I couldn’t turn away
Well, so much has happened to me
That I don’t understand
All I can think of is being five years old, following behind you at the beach
Tracing your footprints in the sand
Trying to walk like a man

[Verse 2]
By Our Lady of the Roses
We lived in the shadow of the elms
I remember Ma draggin’ me and my sister up the street to the church
Whenever she heard those wedding bells
Well, would they ever look so happy again
The handsome groom and his bride
As they stepped into that long black limousine
For their mystery ride
Well, tonight you step away from me
And alone at the altar I stand
And as I watch my bride coming down the aisle
I pray for the strength to walk like a man

[Verse 3]
Well, now the years have gone and I’ve grown
From that seed you’ve sown
But I didn’t think there’d be so many steps
I’d have to learn on my own
Well, I was young and I didn’t know what to do
When I saw your best steps stolen away from you
Now I’ll do what I can
I’ll walk like a man

[Outro]
And I’ll keep on walkin’

References:
1. Tunnel of Love (album) – Wikipedia

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Whatever – The Beths

Posted on August 4, 2026 by observationblogger — 20 Comments

I can’t help but enjoy the vibe and looseness of the New Zealand indie pop band The Beths. Their relatable, down-the-block garage band image really works for me, and their music is full of upbeat, infectious melodies, and catchy riffs. And despite the no-frills, indie-cliché title, Whatever is performed with plenty of sincerity and conviction.

You can tell they genuinely enjoy what they do, and their songs – especially today’s Whatever – reflect that bright and carefree spirit. The groovy guitar here comes straight out of the 1982 hit Vacation by The Go-Go’s. Oh, and if you’re quick enough, you can catch The Beths performing tonight at The Madonna Inn in San Luis Obispo, California.

Lead vocalist Elizabeth Stokes must be a bit of a cycling enthusiast. She appeared in the last featured song here, Til My Heart Stops, riding and tinkering with her bike, and here she is again taking it for a spin through a typical New Zealand town. Interestingly she named the band after herself, inspired by how the Gilmore Girls character Lorelai Gilmore named her daughter after herself.

Whatever appeared on the band’s debut EP Warm Blood in 2016 and was released as its first single, complete with an accompanying music video. The Beths received financial support from the New Zealand Music Commission and NZ On Air, which helped fund the video. The Music Commission also backed three of the band’s international tours through its music market development grants.

Elizabeth Stokes and guitarist Jonathan Pearce (far right in above image) first met in high school. They later met bassist Benjamin Sinclair and drummer Ivan Luketina-Johnston while all four were studying jazz at the University of Auckland. Since then, The Beths have released four studio albums.

I’ve mentioned before how much they remind me of the Canadian indie band Alvvays, who have also featured here. Interestingly, Alvvays are among the bands The Beths have cited as inspirations of their work.

[Verse 1]
Blind, you’re blind
Full of breaths and sobs, and shakes, and shakes
Saying you will do whatever it takes
(Whatever, yeah, whatever)
Call declined
Say you’re ’round the corner, fine, okay
You think I will buy whatever you say
(Whatever, yeah, whatever)

[Pre-Chorus]
Now you’re getting me started, you’re pulling the yarn, and
You’re pulling it harder and I think I’m gonna (I think I’m gonna)
You’re getting me started, you’re pulling the yarn, and
You’re breaking my heart, you’re making me want to

[Chorus]
Crash the car, we’ll hit the water
Brush the rock and wait for the maker
And if he doesn’t show
Then heaven knows, heaven knows
I’ll make you feel so good

[Verse 2]
You arrive
Towing silence on a lively eve
Eyes are crying for another reprieve
(Another year, whatever)
And we’re blood and water but my back is blown
Your shoulders, slumped are saying
You should’ve known I’d let you down again
(Whatever, yeah, whatever)

[Pre-Chorus]
Now you’re getting me started
You’re pulling the yarn, and
You’re breaking my heart, you’re making me want to
You’re pulling it harder and I think I’m gonna (I think I’m gonna)
You’re getting me started
You’re pulling the yarn and
You’re breaking my heart
You’re making me want to

[Chorus]
Crash the car, we’ll hit the water
Brush the rock and wait for the maker
And if he doesn’t show
Then heaven knows, heaven knows
I’ll make you feel so good

[Bridge]
Baby, you’re breaking my heart
Baby, you’re breaking my heart
Why do you make it so hard?
You’re breaking my heart

[Chorus]
Crash the car we’ll hit the water
Brush the rock and wait for the maker
And if he doesn’t show
Then heaven knows, heaven knows
I’ll make you feel so

References:
1. The Beths – WIkipedia

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What You Need – INXS

Posted on July 31, 2026 by observationblogger — 15 Comments

“This song is almost 40 years old.
Michael Hutchence died at age 37.
The song has been here longer than he lived. And still we all love it.”

This is one of my favourite ’80s Australian songs and, hands down, my favourite by INXS. I never grow tired of hearing it. Its snarling sound has so much bite and it’s mostly a drum-and-guitar-driven song. I mean, nearly all conventional modern rock songs have guitars and drums in them, but few are as penetrating and sharp as they are here. Everything about this song is brilliant. It kills at clubs and parties. The bassline, the drumming, the lyrics, the singing, the rhythm – this is one of a kind. This is ’80s rock at its best.

Hutchence’s voice brilliantly captures the desperation in the song. The saxophone parts, interspersed throughout, add so much sizzle to the flame. It’s a damn sexy song. The climax for me comes at around the 1:50 mark. Every time I hear it with other people, I tell them, “Here it comes… you ready?” There are few drum passages that appeal to me more than that one. Then it’s soon joined by the wicked guitar, and the two become like a duet – an accompanying act all of their own. It’s pretty badass.

The video presentation below is fantastic. It’s like a splattering of paint on a canvas, reflecting the frenetic pace of the song. Kids, this is what you call a music video!

Snippets from Wikipedia:

What You Need was the lead single off INXS’ 1985 album Listen Like Thieves. The album was considered an international breakthrough album for the band peaking at No. 11 on the US Billboard. What You Need was the band’s first American Top Ten hit, peaking at number 5 on the Billboard.

After the album Listen Like Thieves was recorded and ready to be given to the record label for inspection, producer Chris Thomas was worried that the album didn’t have a “hit”. As Andrew Farriss recalled in a 2005 interview; “‘What You Need’ is another example of a huge hit that essentially took no time at all. We’d already finished the Listen Like Thieves album but Chris Thomas (the producer) told us there was still no ‘hit’. We left the studio that night knowing we had one day left and we had to deliver ‘a hit’. Talk about pressure. The band’s performance on that track is amazing. We absolutely nailed it.“

[Verse 1]
Hey, here is the story
Forget about your troubles in life
Don’t you know it’s not easy
When you gotta walk upon that line?

[Chorus]
That’s what
You need
Ooh, that’s what
This is what you need, I’ll give you what you need, yeah

[Verse 2]
Oh, don’t you get sad and lonely
You need a change from what you do all day
There is no sense in all your crying
Pick it up and throw it into shape
Ooh yeah

[Chorus]
That’s what
You need
Ooh, that’s what
This is what you need, I’ll give you what you need, yeah

[Bridge]
This is what you need, I’ll give you what you need, yeah
This is what you need, this is what you need
I’ll give you what you need, yeah
Mmm, yeah
Let’s go

[Verse 3]
Hey you, don’t you listen?
This is not the end of it all
Don’t you see there is a rhythm?
It’ll take you where you really need to be
Woah

[Outro]
Woah
Oh woah, woah
Yeah, yeah, this is what to be, what to be
Give it all, give it all, give it all
Yeah
I’ll take you, I’ll take you where you wanna be
It’s right
Take you

References:
1. What You Need (INXS song) – Wikipedia

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New Dawn by Gaby Moreno – Meaning, History & Review

Posted on July 30, 2026 by observationblogger — 6 Comments

I’m going the long way today before getting to today’s featured song because I want to tell you about something that really irks me – and that’s putting it mildly. So please bear with me.

This is where I miss the pre-streaming days, before today’s era of corporate monopolies, when you could walk into your local music or DVD store and buy your own copy of your favourite album or movie. It was yours. There was something special about browsing the shelves, making your choice, taking it home and placing it in your collection. You owned it. It was your possession.

Now it often feels as though we’re only borrowing our music through streaming. Even if you do buy a physical copy online, chances are you’re buying it from one of the handful of mega-retailers that now dominate the market. They profit just as much from the sale as the artist does. It feels as though these corporations have inserted themselves between artists and listeners. Years ago, that connection felt much more direct.

It’s this corporate stakeholdership that has sunk its claws deep into our technological and consumer systems, controlling more and more of our lives through our dependence on convenience and materialism. So I look back fondly to a time before society rapidly transformed into what I see as a form of ‘Western Maoism’, where increasing corporate consolidation has gone hand in hand with the aggressive promotion of woke culture ideology and conscientization by many universities, Hollywood, large corporations and much of the mainstream press.

So what does all this have to do with today’s featured track, New Dawn, I hear you ask?

Well, when I first saw on TV the massively talented Guatemalan artist Gaby Moreno perform live at the Troubadour, my first instinct was simple: I want to own this. I wanted a physical DVD of the concert sitting in my music collection.

Instead, I’ve just spent the last twenty minutes searching everywhere for a copy of this remarkable performance and came up empty-handed. Someone, somewhere, must own the rights to release it, because the concert originally aired on the Film & Arts channel. As far as I can tell, only three performances from the show have found their way onto YouTube, and today’s song, New Dawn, is the third and final one I’ll be featuring here because, quite simply, those are the only performances available from the show.

In my previous articles, I explored Gaby Moreno’s move from Guatemala to Los Angeles, her unique blend of blues, jazz, soul, Americana and Latin influences, the background to her Dusk album, her distinctive bilingual songwriting, and her career journey. So rather than revisit that ground, New Dawn serves as the third and final part of this loose trilogy from Dusk.

In keeping with the concert’s stylish, laid-back atmosphere, New Dawn continues the evening’s warm and inviting mood. Combined with Gaby’s rich, expressive and resonant voice, it makes for a thoroughly charming listen. It’s light and breezy, yet woven with a rich acoustic tapestry of Americana-inspired guitar work that evoke the wide-open landscapes of the American West.

With its earthy Americana sound, gospel-like refrain and bilingual lyrics, New Dawn feels like the soundtrack to someone stepping out of darkness and into the first light of morning.

[Verse 1]
A new dawn over me, a new dawn over me
No more my heavy soul to keep in sorrow
That crimson light is deep, crimson light is deep
Rising on a brighter day tomorrow

[Chorus]
This heavy heart
Has seen the dark
For far too long
Far too long
This salty stream
Has washed me clean
Thy will undone
My day has come

[Verse 2]
Un nuevo amanecer, un nuevo amanecer / A new dawn, a new dawn
La pena y el dolor se van de mi pecho / The sorrow and pain leave my heart
Alzaré mi voz, alzaré mi voz / I will raise my voice, I will raise my voice
Que el grito de verdad llegue hasta el cielo / Let the cry of truth reach the heavens
Que el grito de verdad se oiga hasta еl cielo / Let the cry of truth be heard all the way to heaven

[Verse 3]
A new dawn over me, a new dawn over me
No more my heavy soul to keep in sorrow
That crimson light is deep, crimson light is deep
Rising on a brighter day tomorrow
Rising on a brighter day tomorrow
Rising on a brighter day tomorrow

References:
1. Gaby Moreno – Wikipedia

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Posted in Music

Time – Hootie & the Blowfish

Posted on July 29, 2026 by observationblogger — 3 Comments

On the physics and philosophy of time, I point you to an article I published featuring some snappy and thought-provoking excerpts from a lecture by Carlo Rovelli. Today, though, we’re looking at time from a much more personal angle – not what time is, but what it does to us.

Let me digress for a moment. Sometimes I put the washing machine on before I begin writing an article. But before I know it, the wash cycle has finished and I’m forced to stop what I’m doing to hang the clothes out before they end up with that sour, wet-rag smell. It always catches me by surprise how quickly that time disappears.

That, in a way, is the heart of today’s song. Time slips away before we know it, but more importantly, it changes us. As the years roll by, innocence gives way to experience. We see more suffering in the world, and some of life’s hardest questions become even harder to answer.

Time, I don’t understand
Children killing in the street

The song isn’t blaming time for violence. Rather, it’s the passing of time that exposes us to life’s tragedies. The older we become, the more suffering we witness, and the harder it becomes to make sense of it all. It’s a simple idea, but one most of us can relate to.

On a musical level, what stands out is Darius Rucker’s unmistakable baritone. His low, gruff yet warm voice acts as the song’s emotional anchor and gives it an easy bluesy charm. I also like how the song begins with a gentle, almost tentative guitar before gradually building into something much more powerful without ever feeling forced.

And credit where it’s due – few songs get the bridge right. Too often it’s little more than filler or even distracts from the rest of the song. Here it genuinely lifts the music and becomes one of its strongest moments.

At a time when grunge dominated American radio, Hootie & the Blowfish offered something quite different: safe, melodic and emotionally direct rock that appealed to a huge mainstream audience. “Time” was the fourth single from their debut album, Cracked Rear View, which went on to become one of the best-selling debut albums in U.S. history, selling more than 20 million copies in the United States alone. The album’s extraordinary staying power helped “Time” reach No. 14 on the Billboard Hot 100 in early 1996.

[Verse 1]
Time, why you punish me?
Like a wave crashing into the shore
You wash away my dreams
Time, why you walk away?
Like a friend with somewhere to go
You left me crying

[Chorus]
Can you teach me about tomorrow
And all the pain and sorrow, running free?
‘Cause tomorrow’s just another day
And I don’t believe in time

[Verse 2]
Time, I don’t understand
Children killing in the street
Dying for the color of a rag
Time, take their red and blue
Wash them in the ocean, make them clean
Maybe their mothers won’t cry tonight

[Chorus]
Can you teach me about tomorrow
And all the pain and sorrow, running free?
But tomorrow’s just another day
And I don’t believe in –

[Post-Chorus]
Time is wastin’, time is walkin’
(Time, time) You ain’t no friend of mine
(Time, time) I don’t know where I’m goin’
(Time, time) I think I’m out of my mind
Thinkin’ about time
And if I die tomorrow, yeah
Just lay me down to sleep

[Interlude]
Oh, no, no, no, no

[Bridge]
Time is wastin’, time is walkin’
(Time, time) You ain’t no friend of mine
(Time, time) I don’t know where I’m goin’
(Time, time) I think I’m out of my mind
Thinkin’ about time

[Verse 3]
Time, you left me standing there
Like a tree growin’ all alone
The wind just stripped me bare, stripped me bare
Time, the past has come and gone
The future’s far away
Well, now only lasts for one second, one second

[Chorus]
Can you teach me about tomorrow
And all the pain and sorrow, running free?
‘Cause tomorrow’s just another day
And I don’t believe in time

[Post-Chorus]
(Time, time, time, time) You ain’t no friend of mine
(Time, time) I don’t know where I’m goin’
(Time, time) I think I’m out of my mind
(Time) Walkin’, (Time) wasted
(Time, time) You ain’t no friend of mine
(Time, time) I don’t know where I’m goin’
(Time, time) No, no, no, no
Time without courage, time without fear
Is just wasted, wasted, wasted time, oh

[Outro]
Ooh
Time, why you punish me?

References:
1. Time (Hootie & the Blowfish song) – Wikipedia

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Posted in Music

What Is Life (1970) – George Harrison

Posted on July 27, 2026 by observationblogger — 3 Comments

If I had to bottle everything that made George Harrison such a special artist into one song for someone unfamiliar with his music, then What Is Life would be the potion I’d hand them. It captures everything that was so kind, warm and peaceful about George as a person, yet also reveals the high-spirited, joyful side of his music.

More than almost any other song he recorded, he sounds like a born entertainer here. It has a touch of Motown about it, while also carrying the huge Wall of Sound production style of Phil Spector. In fact the song was originally written with Billy Preston in mind before Harrison decided to record it himself which helps explain why the song has such a strong soul and Motown feel.

George always came across as such an affable and grounded person despite his fame and talent. Olivia Harrison has spoken of the peaceful atmosphere surrounding his passing, and described the room being filled with a brilliant light as he died. Whether taken literally or spiritually, it seems a fitting image for someone who brought so much warmth into the lives of others. George’s music is the gift that keeps on giving since I’m yet to hear a bad song by him.

What Is Life is so rich, dynamic and uplifting that I struggle to think of many songs with a more vibrant and irresistible groove to kick-start the week. It’s an upbeat, soulful burst of pure joy and one of the highlights from George’s 1970 masterpiece, All Things Must Pass.

All four former Beatles enjoyed immediate success after the band’s breakup, but artistically I think Harrison made the biggest statement straight out of the gate with All Things Must Pass. It wasn’t just a successful solo debut; it was one of the finest albums released by any of the Beatles. Yet George somehow remains the group’s quiet and often unheralded champion.

It’s remarkable to think how talented The Beatles were when George Harrison was often regarded as only their third-best songwriter. By the final years of the band it must have been frustrating to have so many strong songs waiting in the wings while the Lennon-McCartney partnership naturally dominated the albums. Music writer John Harris noted that Harrison’s transformation as a solo artist really began in late 1968 when he spent time in Woodstock with Bob Dylan and The Band, an experience that helped broaden his musical confidence and direction.

When you also consider his post-Beatles achievements, his influence on other artists, his tireless work in organising the Concert for Bangladesh, his commercial resurgence during the 1980s, and his role in forming the supergroup Traveling Wilburys, George Harrison’s death at just 58 still feels like a profound loss. One cannot help wondering how much more wonderful music he still had left to give.

Snippets from Wikipedia:

  • “What Is Life” is one of several Harrison love songs that appear to be directed at both a woman and a deity.
  • (What is Life) was the second single from the album and became a top-ten hit in the United States, Canada and elsewhere, and topping singles charts in Australia and Switzerland.
  • Harrison’s backing musicians on the song include Eric Clapton and the entire Delaney & Bonnie and Friends band, with whom he had toured during the final months of the Beatles. 
  • Rolling Stone magazine has variously described it as a “classic” and an “exultant song of surrender”

[Verse 1]
What I feel
I can’t say
But my love is there for you any time of day
But if it’s not love
That you need
Then I’ll try my best to make everything succeed

[Chorus]
Tell me, what is my life (What is my life)
Without your love? (Love)
And tell me, who am I (Who)
Without you (You)
By my side?

[Verse 2]
What I know
I can do
If I give my love now to everyone like you
But if it’s not love
That you need
Then I’ll try my best to make everything succeed

[Chorus]
Tell me, what is my life (What is my life)
Without your love? (Love)
And tell me, who am I (Who)
Without you (You)
By my side?
Tell me, what is my life (What is my life)
Without your love? (Love)
And tell me, who am I (Who)
Without you (You)
By my side?

References:
1. What is Life – WIkipedia

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Sabre Olvidar (1969) – The Tnt Band

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

This song oozes such coolness with its smoky piano rhythm and relaxed groove. The brass slips in with short, tasteful phrases, and the percussion keeps everything gently swaying without ever becoming frantic. It has the feel of a late-night dance floor where nobody is trying too hard. The lead vocalist doesn’t cry, shout or beg. Instead, he sings with an effortless confidence that almost masks the pain behind the lyrics.

Originally recorded by New York’s TNT Band in the late 1960s, it emerged during the brief but hugely influential Latin boogaloo movement – a melting pot of Cuban rhythms, Puerto Rican soul, jazz and American R&B.

Lyrically, Sabré Olvidar begins with one of the most startling opening lines you’ll ever hear:

“I suffer greatly knowing that you haven’t died.”

It’s wonderfully melodramatic. The singer isn’t literally wishing death upon his former lover. Rather, he suffers knowing she hasn’t died in his memory. Such is the depth of his sense of betrayal that, when he looks at her photograph, he sees only falsehood and cruelty.

His personal triumph, however, belongs to the chorus. “Sabré olvidar” (“I will know how to forget”) isn’t simply about erasing the past. It’s a declaration of resilience. The singer chooses to keep walking, singing and laughing, refusing to let heartbreak define the rest of his life.

Little survives about the mysterious TnT Band beyond a handful of albums released on Fania Records in the late 1960s. Overshadowed by bigger names from New York’s boogaloo scene, the group has largely faded into obscurity. Yet one song has refused to disappear. “Sabré Olvidar” has outlived its creators, becoming a Latin classic through countless reissues and memorable covers.

Verse

Sufro mucho al saber que no te has muerto / I suffer greatly knowing that you haven’t died
Y al mirar aquel retrato (No te has muerto) / And when I look at that portrait (You haven’t died)
En tu rostro yo comprendo / In your face I understand
La maldad de tu querer / The cruelty of your love
Falsedad en tu mirar (No te has muerto) / Falsehood in your gaze (You haven’t died)
Amor solo para perder / A love destined only to be lost
Así es vida, tu querer / Such is your way of loving
Por eso te digo / That’s why I tell you

Chorus

Sabré olvidar mujer, sabré olvidar / I will forget, woman, I will forget
Sabré olvidar mujer, sabré olvidar / I will forget, woman, I will forget

Verse

Si tú quieres te perdono / If you want, I forgive you
Pero deja de pecar (No te has muerto) / But stop sinning (You haven’t died)
Y como una Magdalena / And like a Magdalene
Confiésate, aprende a amar (No te has muerto) / Confess yourself, learn to love (You haven’t died)
Sólo así te salvarás / Only then will you be saved
Pues yo como un chacal (No te has muerto) / For I, like a jackal (You haven’t died)
Seguiré por mi camino / Will continue on my own path
Cantando, riendo siempre / Singing, always laughing
Y así yo sabré olvidar / And that is how I will learn to forget

Chorus

Sabré olvidar mujer, sabré olvidar / I will forget, woman, I will forget
Sabré olvidar mujer, sabré olvidar / I will forget, woman, I will forget

References:
1. The TnT Band discography – All Music

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Shofukan (2013) – Snarky Puppy

Posted on July 24, 2026 by observationblogger — 6 Comments

It’s often said that Snarky Puppy is one of the best-kept secrets of the New York instrumental music scene. The quasi-collective, as they describe themselves, began as a group of musicians from the University of North Texas in 2004 before later relocating to Brooklyn. Since then, they have quietly established themselves as one of the most respected underground acts in contemporary music.

Heavily influenced by jazz, funk and progressive rock, Snarky Puppy has created a unique sound brought to life by a rotating cast of nearly 40 musicians. Their music features an impressive range of keyboards, basses, guitars, wind instruments, percussion and strings. Many of the band’s members also appear on recordings and tours with artists such as Snoop Dogg, Roy Hargrove, Justin Timberlake and Marcus Miller.

The performance below comes from the album We Like It Here, which was recorded live in October 2013 at the artistic compound Kytopia in Utrecht, the Netherlands.

I’m so glad I stumbled across this music recently. As one viewer remarked beneath the video, Snarky Puppy is a perfect example of why music education is so important. School music programs give many young people a place to belong and help students who might otherwise struggle to find their place in school.

Can we also take a moment to appreciate the cinematography? The camera operators are almost as remarkable as the musicians themselves. They capture all the little interactions and expressions that bring the performance to life. Watching it, I genuinely felt like I was sitting in the room with them.

Musically, it is simply breathtaking. The trumpet solo is wonderfully elegant – never overstated, just beautifully played with a warm, rich tone. The drumming is extraordinary. In fact, this level of drumming should probably be illegal.

The sound mixing deserves just as much praise. Being able to hear every instrument with such clarity is astonishing. There is so much happening, yet nothing feels crowded. Every listen reveals another little detail that might have been missed before.

What an incredible ensemble, arrangement and performance. Every musician in that room should feel enormously proud. What a treat this is.

1. Snarky Puppy lanza video – Radio Cocoa
2. Snarky Puppy – Wikipedia

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