Casi un Hechizo (1992) – Jerry Rivera

The baby of salsa is back! Jerry Rivera’s music almost single-handedly brought romantic salsa to a worldwide audience in the 1990s. Influenced by his musically gifted parents and mentored by icons like Frankie Ruiz, the Puerto Rican’s breakthrough came with the album Cuenta Conmigo (1992) – one of the best-selling salsa records in history, which also features today’s track. Unlike the hard-edged salsa dura of the previous generation, Rivera’s style softened the genre’s toughness with melody, tenderness, and sentiment – making him not only a hitmaker but a cultural bridge between salsa’s golden era and its romantic revival.

When I first came to Colombia back in 2009, Jerry Rivera was one of the first Latin artists whose music I instantly connected with. To this day, his songs are still a staple on Colombian airwaves. I feel a real nostalgia toward tracks like Casi un Hechizo – not just for their charm, but because they remind me of my early days immersing myself in Latin culture and its vibrant, animated life.

My project already features quite a few Jerry Rivera tracks – such is my fondness for his music. He’s often regarded as the prince of salsa romántica, or salsa rosa, a subgenre that emerged in the mid-1980s. The “rose” in salsa rosa is a fitting symbol – delicate, fragrant, and romantic. These songs lean toward themes of love, seduction, and emotional longing, painting softer portraits of masculinity compared to the fiery energy of salsa brava or salsa clásica. Critics sometimes dismiss this style of salsa as “watered down,” saying it’s made less for the dance floor than for a slow, lingering embrace. But hey, that doesn’t sound so bad to me.

Casi un Hechizo captures that magnetic pull between two lovers – one that borders on the supernatural, as though love itself has cast a spell. It tells of a man completely captivated by the magical presence of his partner. Every glance, every word she speaks, enchants him further. Her love holds such power that he can no longer tell whether he’s living in reality or within her spell. Casi un Hechizo becomes Rivera’s declaration of devotion and surrender – a celebration of how love can blur the line between the spiritual and the physical.

[Intro]
Mi amor, una vez más soñé contigo
Y a la verdad, necesito decirte

[Pre-Coro]
Mira mis manos, tiemblan así por ti
Sé que tiemblas por mí
Siento el encanto de una noche entre tus brazos
Ven y dame al fin de tu amor, de tu corazón
Que ya es hora de ser feliz
Mira mis ojos, brillan así por ti
Te deseo a morir
Mira la gente, mira la gran ciudad
Se detienen por ti y por mí si nos ven besar
Sonriendo dirán: “Qué par de locos”

[Coro]
Darme un beso así
Es ir al paraíso
Es casi un hechizo
Darme un beso así
Me llena de calma
Me llega hasta el alma

[Verso 1]
Mira mis labios, acércate un poco más, de manera casual
Muerde un suspiro, aprovecha mi descuido
Ven, bésame sin dudar
Sin hablar, dame más calor
Lléname de tu amor
Te necesito

[Coro]

[Refrán]
Dame un beso así
Que me llegue hasta el alma y me haga perder la calma
Dame un beso así
Que lo que esconden tus labios quiero descubrir
Dame un beso así
Llévame hasta el paraíso
Dame un beso así
Porque yo quiero ser parte de tu dulce hechizo
Dame un beso así
Oye, tu boca en mi boca quisiera tener
Dame un beso así
Mira que brillan mis ojos y te deseo, mujer

[Refrán]
Dame un beso así
Bésame ahora mismo aunque hable la gente
Dame un beso así
Si estamos locos de amor, que comenten
Dame un beso así
Necesito de tu amor, lléname de tu calor
Dame un beso así
Que no exista la duda de que este amor es una locura
Dame un beso así
Acércate niña linda que yo te quiero sentir
Dame un beso así
Y si notas que yo tiemblo, estoy temblando por ti
Dame un beso así
Dame agua de tu fuente, estoy sediento de ti
Dame un beso así
No me hagas desfallacer, dame un beso, please

References:
1. Jerry Rivera – Wikipedia

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Did You Know That There’s a Tunnel Under Ocean Blvd (2022) – Lana Del Rey

The lyrics contain strong language. Reader / listener discretion is advised.

“What can I say! I’m so grateful to be present and feeling effervescent today…With a mind full of violets and a forehead warmed by the sun as I pray in the garden.”

– From a typewritten letter Lana wrote to release her new album Did You Know That There’s a Tunnel Under Ocean Blvd.

I’ve listened to my fair share of Lana Del Rey over the past couple of years as a relatively new fan, and her songs have been coming out here like hotcakes – something I don’t see abating anytime soon. Let me just say it: today’s featured track, Did You Know That There’s a Tunnel Under Ocean Blvd, stands above just about any other song I’ve heard from her, showcasing her melancholic beauty and cinematic sound all in one package. It’s a bit like Dostoevsky’s short story White Nights – a perfect gateway into his world. If you like White Nights, you’ll likely love Dostoevsky; if you don’t, probably not. The same goes for this song and Lana’s artistry – to me, it’s a full immersion into who she is as an artist.

Did You Know… carries a melodic and lyrical lucidity that feels utterly original. Lana weaves an atmosphere that’s both intimate and vast. She seems to be expressing herself as if she was a by-product of her place and the inherent materialism associated with our age – yet determined to transcend it through the alchemy of her own voice, talent, and sexuality. In that sense, she’s not unlike Argentinian artist Nathy Peluso, both of whom are reshaping the modern musical landscape as we speak, through fearless self-expression and artful provocation.

I don’t know why, but as soon as this song unravels into the chorus, I feel that lump in my throat, the eyes becoming watery. It’s irrepressible, quintessential Lana Del Rey – that Americana music whispered from the static of a dying radio. It’s the same reaction I get when she sings, “America, I need a miracle,” in Arcadia – pure cinematic yearning. To me, Lana’s like an old siren from a 1950s screen who’s drifted into the modern world.

The following was abridged from the Wikipedia article below:
Lana shared that the song and title Did You Know That There’s a Tunnel Under Ocean Blvd were inspired by a sealed tunnel under the Jergins Trust Building in Long Beach, California, and a 1974 track by Harry Nilsson titled Don’t Forget Me. She had read that “the [tunnel’s] mosaic ceilings were still perfectly preserved, but no one could get in“, and was compelled to write a song inspired by Nilsson’s track using her own metaphors.

The song is the title track and lead single from Lana’s ninth studio album. Commercially, the album topped the record charts in eight countries and reached the top-five in over 20 countries, including the United States, where it peaked at number three on the US Billboard. Work on the album started shortly after the release of her eighth studio album, Blue Banisters, in October 2021. 

In the album Lana departed from her signature colorful language and world-building, found in her other work, in favor of a conversational style. The album is an Americana and alt-pop album by experimenting with a fusion of ‘Seventies FM piano pop’, hip-hop, and dance production, as well as influences of gospel, folk, trap, electro-jazz, soul, and psychedelic music. Del Rey called the creation of the album “totally effortless“, saying that she wanted the music to have “a spiritual element“.

“If people think my music is good it’s because there’s other people involved in the songs and in the process of making it. So many people” 

– With 16 tracks, the album includes collaborations with everyone from Father John Misty to Bleachers, Tommy Genesis to Jon Batiste.

[Verse 1]
Did you know that there’s a tunnel under Ocean Boulevard?
Mosaic ceilings, painted tiles on the wall
I can’t help but feel somewhat like my body marred my soul
Handmade beauty sealed up by two man-made walls

[Pre-Chorus]
And I’m like
When’s it gonna be my turn?
When’s it gonna be my turn?

[Chorus]
Open me up, tell me you like it
Fuck me to death, love me until I love myself
There’s a tunnel under Ocean Boulevard
Therе’s a tunnel under Ocean Boulеvard

[Verse 2]
There’s a girl who sings “Hotel California”
Not because she loves the notes or sounds that sound like Florida
It’s because she’s in a world, preserved, only a few have found the door
It’s like Camarillo, only silver mirrors, running down the corridor

[Pre-Chorus]
Oh, man
When’s it gonna be my turn?
Don’t forget me
When’s it gonna be my turn?

[Chorus]

[Verse 3]
Harry Nilsson has a song, his voice breaks at 2:05
Something about the way he says “Don’t forget me” makes me feel like
I just wish I had a friend like him, someone to give me five
Lennon in my back, whisperin’ in my ear
“Come on, baby, you can thrive”
But I can’t

[Pre-Chorus]
When’s it gonna be my turn?
Don’t forget me
When’s it gonna be my turn?

[Chorus]

References:
1. ‘Did You Know That There’s a Tunnel Under Ocean Blvd’ – Rolling Stone
2. Did You Know That There’s a Tunnel Under Ocean Blvd – Wikipedia

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Court and Spark (1974) – Joni Mitchell

In my last Joni post – For Free, Polly at SilverAppleQueen spoke highly of Court and Spark and I can see why. While I haven’t immersed myself in the whole album, I liked the title track a lot! It effortlessly fuses folk, jazz, country, and Joni’s haunting voice. Her sixth album which many argue was her best album, Court and Spark was released in the month I was born – January, 1974 – so it had to be pretty good… Prettaaay, Prettaaay Good. It reached number 2 on the Billboard 200 and was the top seller in the US. Last year the Guardian did a retrospective review of it (pulled up an archive) and noted ‘it (Court and Spark) is both too solemn and too good‘ for it’s success.

The title track hints back to For Free (on the Ladies of the Canyon album) in its concern for the ideals of a street musician who has the freedom that she has lost, stuck in Los Angeles “the city of the fallen angels.”

The Guardian

Polly did mention how she loved the jazz groove of it and that’s exactly what Joni was going for in the recording of this album (according to Wikipedia below).

The following was mostly abridged from the Wikipedia article below:
Court and Spark as alluded to above was an immediate commercial and critical success – and remains her most successful album. It also eventually received a double platinum certification by the RIAA, the highest of Mitchell’s career. In 2020, it was ranked at number 110 in Rolling Stone’s 500 Greatest Albums of All Time. In 2004, Court and Spark was inducted into the Grammy Hall of Fame.

In 1973 Mitchell didn’t release a new album – the first year she had not done so in her professional career. She decided to spend the year writing and recording a new album that revealed her growing interest in new sounds – particularly jazz. Mitchell and engineer Henry Lewy called in a number of top L.A. musicians to perform on the album including Robbie Robertson, David Crosby and Graham Nash.

In a July 1979 interview with Cameron Crowe for Rolling Stone, Mitchell recounted playing the newly completed Court and Spark to Bob Dylan, during which he fell asleep. She later suggested that Dylan was probably trying to be “cute” in front of label boss David Geffen, who was also present.

Fleetwood Mac singer Stevie Nicks recalled taking LSD to the album: “I was with my producer, at his house, with a set of speakers that were taller than that fireplace, and I was in a safe place. And I sat there on the floor and listened to that record… That was a pretty dynamic experience.

[Verse 1]
Love came to my door with a sleeping roll and a madman’s soul
He thought for sure I’d seen him
Dancing up a river in the dark
Looking for a woman to court and spark

[Verse 2]
He was playing on the sidewalk for passing change
When something strange happened, glory train passed through him
So he buried the coins he made in People’s Park
And went looking for a woman to court and spark

[Chorus 1]
It seemed like he read my mind
He saw me mistrusting him and still acting kind
He saw how I worried sometimes
I worry sometimes

[Verse 3]
“All the guilty people,” he said, “they’ve all seen the stain
On their daily bread, on their Christian names
I cleared myself, I sacrificed my blues
And you could complete me, I’d complete you.”

[Verse 4]
His eyes were the color of the sand and the sea
And the more he talked to me, you know, the more he reached me
But I couldn’t let go of L.A
City of the fallen angels

References:
1. Joni Mitchell’s Court and Spark reviewed – archive, 1974 – The Guardian
2. Court and Spark – Wikipedia

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Something to Talk About (2002) – Badly Drawn Boy

The instant the subject of About a Boy came up in conversation with a friend the other day – lo and behold – it appeared on my cable that same afternoon. Once that happens, there’s no turning it off for me. I only need to see one scene and I’m hooked till the credits roll. There isn’t a moment in that film I don’t enjoy rewatching.

I’ve always related to Will, Hugh Grant’s character, because of my own temperament and circumstances: “I am an island. I am bloody Ibiza!” It’s always struck me as the role Hugh Grant was born to play. About a Boy walks a delicate tightrope between witty, frivolous comedy and heartfelt drama. Such is my attachment to it that I even wrote about it in my Friday’s Finest segment.

Which brings me to today’s featured song – Something to Talk About – the defining track from the film’s soundtrack. Released as a single on June 10, 2002, it reached number 28 on the UK Singles Chart. Damon Michael Gough, better known as Badly Drawn Boy, is the English indie singer-songwriter and multi-instrumentalist behind it. Impressed by his earlier work, the Weitz brothers (the film’s directors) invited him to compose the score.

The soundtrack blends short soundbite-style jingles with fully formed songs, all carrying that same laid-back groove and hip, understated cool. Something to Talk About belongs firmly in the latter category – it’s got the strut, flow, and quiet confidence of Will himself. Subtle, stylish, and effortlessly charming. It’s often said, but in this case it’s true: the song and the movie are inseparable. Each enhances the other. The track recurs throughout the film, yet never grows old; it becomes part of the film’s texture, setting the tone and amplifying its bittersweet charm.

I’ve been
Dreaming
Of the things I’ve learnt about a boy who’s
Bleeding
Celebrate to elevate
The joy is not the same without the pain
Oooh

Ipso
Facto
Using up your oxygen
You know I’m
Shallow
Calling out for extra help
You’ve got to let me in
Or let me out

Oooh something to talk about
Oooh something to talk about
Oooh Oooh Oooh

I’ve been
Dreaming
Of the things I learnt about a boy who’s
Leaving
Nothing else to chance again
You’ve got to let me in
Or let me out
Oooh something to talk about
Yeah something to talk about
Oooh Oooh Oooh

References:
1. Badly Drawn Boy – Wikipedia

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6/10/25 – 12/10/25 – Con Man, Oakland & Heart Attack

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Con Man interview-Matthew Cox
Video interview at Soft White Underbelly

“You can’t be a scumbag and then be upset when people do scumbag things to you!”

I’ve been watching interviews on Mark Laita’s channel Soft White Underbelly from time to time over the years, and I’ve even featured a few in my Monday’s News on the March segment. What I find so compelling and worthwhile about Laita’s work is how it offers powerful reminders – the kind that rarely reach the public – of just how easy it is to let yourself slip. “Everything you do matters, and you have to carry that with you.”

This featured interview stood out to me because it’s rare to see a narcissist who actually recognizes he’s a narcissist – a conman and a scoundrel – and speaks so frankly about it. Not only that, but it’s painfully clear in the way he carries himself why he was so influential, yet manipulative enough to bend the system and make an absolute fortune from it.

Beyond being informative and engaging, the interview brims with dark humour that had me chuckling throughout. Matthew Cox – the conman himself – is an animated and assured communicator, and it’s hard to imagine him not being “successful” in almost any vocation. After all, modern society tends to reward people with the very traits he possesses in spades.

The Ghosts of Oakland
Sports article at Coco Crisp’s Afro

What Coco Crisp’s Afro lacks in frequency of publication, it more than makes up for in pizzazz, quirky humour, and pure diversion. Sometimes less really is more – and that certainly rings true in the case of Gary Trujillo’s sports blog dedicated to the Oakland A’s baseball club. My only exposure to the A’s had been through the movie Moneyball – until I stumbled across Gary’s blog, and I’m sure glad I did. You don’t need to be well-versed in baseball’s inner workings to get a real kick out of his writing; the articles are simply entertaining on their own merit.

Gary won’t mind my sharing in full his latest post from Coco Crisp’s Afro, which had me laughing out loud by the end. The Field of Dreams reference is an absolute humdinger. In fact, there are too many classic lines to mention, but he definitely saved the best one for last – it’s a f%&king doozy.

So, without further ado, folks – I present to you The Ghosts of Oakland::

Dave Beard wasn’t famous, and that’s kind of the point.

In the long, cracked pavement of baseball history, there are the guys who get their faces on baseball cards kids actually want, and then there are the guys who just sort of show up. The grinders. The ones who throw when their arms are wet noodles and nobody’s in the stands except some drunk guy in section 128 yelling, “Let’s go, Oakland!” like it still meant something.

Beard was one of those guys. A righty from Atlanta, he was called up from minor league purgatory (Tacoma) in 1980…when the Coliseum still smelled like cigarettes, wet concrete, and stale beer. He was twenty and looked like the kind of kid who’d help you move a couch without being asked. The big names were long gone—Catfish, Reggie, Vida. But what was left was a weird hangover phase and a bunch of kids trying to keep the lights on.

Billy Martin was managing back then when managers looked like they could, and would get into a bar fight—chain-smoking, yelling, driving pitchers into the ground because that’s what men like him did. Beard fit right in and didn’t complain. Just threw until his shoulder felt like rubber bands about to snap. In ’82 he was damn good—ten wins, eleven saves, the kind of numbers that make you think maybe this game could love him back.

But baseball doesn’t love anyone for long.

By ’83 his arm was mush and the radar gun didn’t care. The A’s had moved on. Salt Lake. Iowa. Bus rides and near empty stands. Motel rooms with buzzing air conditioners. Beard became another name on the transaction wire, another face fading into the cocaine static of the 1980s. His last game came in ’89—the same year Field of Dreams tried to deke us into thinking this whole thing was about redemption and fathers playing catch in cornfields. Beard knew better. Baseball was about labor. It chewed you up, then asked for seconds.

He finished 19–20 with a 4.70 ERA. That’s not failure…that’s survival.

No one’s naming their kid after Dave Beard. There’s no statue, no tribute video, just a box score and the faint outline of a man who once mattered for a minute. But if you look close enough—past the lights, the money, and the bullshit—you can see the beauty in it.

How to Survive a Heart Attack Alone After 60 – 7 Life Saving Tips Every Senior Must Know
Informational video at Her Health 60+

After those two lighthearted features above, I’ll wrap up this Monday segment on a more solemn – but important – note. The topic is heart attacks (yukky, I know) and what to do if you’re alone at home and suddenly experience what seems to be one. It’s something I’d honestly never thought about before, but I’m glad this information crossed my feed. In the unlikely event it does happen, I’d like to be in a better position to survive it than I might otherwise be.

Below is a breakdown of what to do (according to the video) if you ever find yourself in this frightening situation – which may involve symptoms such as chest pain or discomfort, shortness of breath, pain radiating to other areas of the body, nausea, or cold sweats:

7. call respective emergency number (911 in US, 123 in Colombia) immediately within 5-10 minutes – don’t second guess
6. chew an aspirin (325 grams)
5. loosen tight clothing and sit upright to reduce strain
4. cough strongly if feel faint to keep blood flowing
3. unlock the door and keep phone nearby
2. take slow deep breaths to calm
1. stay still and calm as possible

    That is all. Thank you for reading.

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    Right Back to It (2024) – Waxahatchee 

    “I’m really interested in writing love songs that are gritty and unromantic,” she said of the track (Right Back to It). “I wanted to make a song about the ebb and flow of a longtime love story. I thought it might feel untraditional but a little more in alignment with my experience to write about feeling insecure or foiled in some way internally, but always finding your way back to a newness or an intimacy with the same person.”

    – Katie Crutchfield in Press Release

    One of the satisfactions – which I imagine many of you can relate to – of following other music blogs is stumbling upon wonderful songs you might never have heard otherwise. My friend Christian at his music blog Christian’s Music Musings, recently did a concert review of the Outlaw Music Festival in New Jersey. The lucky son of a gun got to see it all in its full glory – a lineup that included a fantastic Americana song that pushes and pulls between country and indie rock : Right Back To It by Waxahatchee.

    Below, I’ve shared two live versions of the song – first from The Late Show, followed by Christian’s recording from the concert – both of which prove the group’s got real chops on stage, despite the inevitable murmuring of the crowd in the latter.

    The festival also featured none other than Bob Dylan and Willie Nelson. In fact, the Outlaw Music Festival was founded by Nelson in 2016, originally intended as a one-time event, but it evolved into an annual touring festival. I particularly enjoyed Dylan’s performance of I Can Tell, which Christian presented – a blues-rock number written by Samuel Smith and first recorded by Bo Diddley back in 1962.

    Now, I’ll hand you over to Christian and Right Back To It:

    Next up was Waxahatchee, a music project of indie folk and indie rock singer-songwriter Katie Crutchfield. Crutchfield formed Waxahatchee in 2012 after the break-up of pop punk band P.S. Eliot she had co-founded in 2007. Starting with 2012’s American Weekend, six albums have appeared to date under the  Waxahatchee moniker. Crutchfield’s excellent touring band included Liam Kazar (guitar), Colin Croom (guitar, pedal steel), Cole Berggren (keyboards, others), Brad Cook (bass) and Spencer Tweedy (drums). Most of Waxahatchee’s set featured songs from their most recent March 2024 album Tigers Blood. Here’s Right Back to It, penned by Crutchfield – great song!

    – Christian at Christian Music Musings – Concert Review: Outlaw Music Festival in New Jersey

    References:
    1. Right Back to it – Wikipedia

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    Malolo (2002) – My Friend the Chocolate Cake

    When I first wanted to present today’s featured track as I reached the “M” section of the music library project, Malolo wasn’t even available for sharing online. Now it is. Hurrah! Anyone familiar with this blog will know what an ardent fan I am of the Australian pop-chamber group My Friend the Chocolate Cake. Their founder, vocalist, and songwriter David Bridie is, hands down, my favourite Australian singer-songwriter. Both the band’s work and Bridie’s solo material have appeared here so often I’ve run out of new photos of the group to copy and am now recycling them.

    Despite my adoration for them, the love has never quite been reciprocated – not by the wider public (at least in a commercial sense), nor by readers of this blog – and that’s fine – sometimes that’s how it goes. I’m sure many of you have experienced that feeling when something you adore doesn’t ignite the same spark in others. Anyhows, Bridie lived in Melbourne’s inner-north suburbs, where I also lived between 2005 and 2009. I saw them perform a bunch of times around town and even got to chat with them between sets – a massive thrill for a newbie fan.

    A far cry from the goofy name and band photo, Curious is a sophisticated affair – From All Music

    Such is their prolific presence in my music collection that rarely a day passes without hearing at least one of their songs – or one of David’s solo pieces. I’m always a happy camper when their music starts playing; I know my listening senses will be fully engaged and that I’ll come out the other side somehow more enlightened and invigorated. Their songs manage to coax out every ounce of the romantic pessimist in me. Malolo comes from The Cake’s album Curious (image inset), a record I hold so dear that nearly every song on it will end up here.

    The first time I ever heard David Bridie perform was in Melbourne at a 2002 concert with his friend, the late great Archie Roach. I was there with my ex, mainly to see Archie – whose music I’ve always loved and still do. Then this guy I’d never heard of – Bridie – takes to the piano and begins More Heart Than Me, which, ironically, closes Curious. He sang, “She comes every morning at least three times,” and I turned to Susan and said, “Who the f%&k is this guy?” I was floored then, and I still am today. Even more curious (wink, wink), just a few days later we received the Curious CD in the mail as a thank-you gift for attending the show.

    And yes, I still have that CD. I played it to death – not because it was a gift (though that was lovely), but because it contains such evocative, atmospheric, and progressive music. I’ve never grown tired of it; on the contrary, it keeps improving with age like a fine vintage wine. Curious is restrained yet deeply ambient, with an alluring sense of intimacy and transcendence.

    Today’s song, Malolo, is a beautiful lament for a person by that name. I don’t know if it’s based on someone real – perhaps an asylum seeker in Nauru or someone awaiting their refugee status in Australia – since Bridie takes a jab at then – Prime Minister John Howard, referring to him as “egghead.” This could be an allusion to the Tampa Affair of 2001, when Howard’s government turned back a ship of asylum seekers, sparking national controversy. Bridie also addressed the issue more directly on his solo album Hotel Radio, particularly in Nation (Of the Heartless Kind) and Safety Haven – both terrific songs in their own right.

    I can’t help but be swayed by Bridie’s music and the worlds he creates, even when my own politics don’t fully align with his. Only David himself can reveal who Malolo truly is – but until then, I’m happy just to listen and wonder.

    Your head’s light and breezy but your thinking is slow
    Everything’s just wait a little bit not go go go
    The sun shimmer it’s a lazy one it burns on your skin
    You’re smooth loose and tired now it’s beginning to kick in

    Malolo don’t you care less for the things that they say
    Malolo

    The big sky on top of the deep sea below
    They join there in the middle it’s as far as it goes
    You wait here for hours but you don’t mind a bit
    The bus that you’re waiting for won’t come til next week
    And when it arrives you may find there’s no seat

    Malolo don’t you care less for the things that they say
    Malolo malolo stay

    The fishing boats huddle close out on the bay
    The Egg Head prime minister he’s a long way away
    And nothing like him is going to ruin your day
    Just wait for the rain to come

    Malolo don’t you care less for the thing that they say
    Malolo malolo stay

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    Gloria (1982) – Laura Branigan (Umberto Tozzi song)

    I always get the same reaction wherever I go, and whenever I perform it … I have to end every show with that song, and people just go crazy.”

    – Laura Branigan in 2003

    What’s your favourite part of this classic power anthem from the ‘80s? Mine has to be that spectacular moment late in the second verse when Laura belts out, “You don’t have to answer!” — the guitar snarls, and she follows it with “Leave ’em hangin’ on the line / Oh-oh, calling Gloria.” It’s crazy to think that moment only occurs once in the entire song. Gloria has to be one of the most infectious and empowering female anthems of the decade – right up there with Cyndi Lauper’s Girls Just Want to Have Fun (though musically far apart). Branigan isn’t just singing to Gloria; she’s practically shaking her by the shoulders — Get a grip, girl! Don’t just fall for any Tom, Dick, or Harry. Leave ’em hanging on the line!

    There are plenty of ‘80s tracks where the overblown synths and big studio polish worked against the song – but in Gloria, all that shimmering excess hits the sweet spot. It’s pure time travel – flinging you straight back to 1982 faster than you can say The Jetsons (which, fun fact, was revived that same decade). You can almost picture a high-powered socialite or high-end executive a bit too fond of champagne and cocaine — who desperately needs Laura to sing her back to her senses. Gloria sits comfortably alongside other powerhouse ballads of the era like Heart’s Alone or Elaine Paige and Barbara Dickson’s I Know Him So Well.

    Here’s the twist, though: after moving to Colombia, one of the first songs I heard on the radio was Gloria — but in Italian. I naturally assumed it was a cover of Branigan’s version. Wrong! Umberto Tozzi’s Gloria actually came first, released in 1979. The quintessential American power-pop classic was born, improbably, in Italy. It was Atlantic Records’ managing director Doug Morris who paired Branigan with producer Jack White (not that Jack White), who in turn suggested adapting Tozzi’s hit for English-speaking audiences. As Branigan later recalled, “We gave it the American kick, rewrote the lyrics, and off she went.” It became both her breakout and signature song.

    The single reached No. 2 on the Billboard in 1982, behind Lionel Richie’s Truly, and remained there the following two weeks, through 11 December – when Richie had been supplanted by Toni Basil’s spectacular Mickey – which will be presented here in the not too distant future. Gloria stayed on the U.S. Billboard for 36 weeks – a record at the time for a female artist – and was followed by major hits like Solitaire, Self Control, and How Am I Supposed to Live Without You. In January 2021, Gloria was heard playing during Donald Trump’s “Save America” rally, as captured in a video shared by Donald Trump Jr.  

    Branigan’s talents earned her four Grammy nominations over her career. She died suddenly at 52, in her home in East Quogue, New York, from a brain aneurysm after suffering headaches for about two weeks, which she had not sought treatment.

    [Verse 1]
    Gloria, you’re always on the run now
    Running after somebody
    You gotta get him somehow
    I think you’ve got to slow down
    Before you start to blow it
    I think you’re headed for a breakdown
    So be careful not to show it

    [Refrain]
    You really don’t remember
    Was it something that he said?
    Are the voices in your head calling, Gloria?

    [Verse 2]
    Gloria, don’t you think you’re fallin’?
    If everybody wants you
    Why isn’t anybody callin’?
    You don’t have to answer
    Leave ’em hangin’ on the line
    Oh-oh, calling Gloria

    [Chorus]
    Gloria (Gloria)
    I think they got your number (Gloria)
    I think they got the alias (Gloria)
    That you’ve been living under (Gloria)
    But you really don’t remember
    Was it something that they said?
    Are the voices in your head calling, Gloria?

    [Verse 3]
    A-ha-ha, a-ha-ha
    Gloria, how’s it gonna go down?
    Will you meet him on the main line?
    Or will you catch him on the rebound?
    Will you marry for the money?
    Take a lover in the afternoon?
    Feel your innocence slippin’ away
    Don’t believe it’s comin’ back soon

    [Refrain]
    And you really don’t remember
    Was it something that he said?
    Are the voices in your head calling, Gloria?

    [Chorus]

    References:
    1. Gloria (Umberto Tozzi song) – Wikipedia

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    I Can’t Be With You (1994) – The Cranberries

    I Can’t Be With You comes from The Cranberries’ stellar 1994 album No Need to Argue (see image inset). Can we just all go back to the ’90s now? Despite being so young at the time, The Cranberries released so many superb tunes with excellent songwriting and musicianship that still hold up today. The remaining members should feel fortunate they have such great songs left behind and to have that legacy – especially considering their lead singer, the late Dolores O’Riordan, tragically passed away in 2018 from drowning due to alcohol intoxication.

    While today’s featured song, I Can’t Be With You, may not be considered top-shelf Cranberries like some of their other tracks presented here including Linger, Dreams & Ode to my Family, I still always enjoy listening to it when it comes on my music player. Despite the melancholic and introspective subject matter, instrumentally it has a nice blend of alternative rock and dream pop elements with jangly guitar riffs and a steady yet upbeat rhythm. And you have that juxtaposed with Dolores O’Riordan’s voice conveying vulnerability and sorrow as she laments the absence of a loved one. The music video below complements the song’s mood with surreal imagery, including O’Riordan in 1920s attire and scenes of desolation, reinforcing the song’s emotional weight.

    I can’t get enough of Dolores’ heavy Irish accent, which of course is a defining feature of her vocal style and is so prominent in I Can’t Be With You. Overall, her accent adds authenticity and a unique texture to her singing. It’s said her unapologetic embrace of her regional identity was a significant aspect of her artistry, which set her apart from many of her contemporaries. She even adds quick bursts of yodeling in this song.

    I Can’t Be With You was released as the third single from their album – No Need to Argue. The song achieved minor chart success where it was released, peaking at number 21 in their native Ireland and No. 30 in Australia. In Iceland, where I hear there is lots of ice, the song reached number one.

    [Verse 1]
    Lying in my bed again
    And I cry ’cause you’re not here
    Crying in my head again
    And I know that it’s not clear
    Put your hands, put your hands
    Inside my face and see that it’s just you
    But it’s bad and it’s mad
    And it’s making me sad
    Because I can’t be with you

    [Chorus]
    Be with you, be with you
    Be with you, be with you
    Be with you, be with you
    Baby, I can’t be with you

    [Verse 2]
    Thinking back on how things were
    And on how we loved so well
    I wanted to be the mother of your child
    And now it’s just farewell
    Put your hands in my hands
    And come with me
    We’ll find another end
    And my head, and my head
    On anyone’s shoulder
    ‘Cause I can’t be with you

    [Chorus]

    [Bridge]
    ‘Cause you’re not here, you’re not here
    Baby, I can’t be with you
    ‘Cause you’re not here, you’re not here
    Baby, still in love with you, da-da-da

    [Outro]

    References:
    1. I Can’t Be with You – Wikipedia

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    San Lázaro (mid 1950’s) – Celina y Reutilio

    San Lázaro (Eng: Saint Lazarus) by Celina y Reutilio is one of Cuba’s most moving yet vibrant and rhythmic tributes to faith and healing. Rooted in Afro-Cuban tradition, the song calls upon San Lázaro – syncretized with the Yoruba deity Babalú Ayé, protector of the sick and poor. When African slaves were brought to Cuba, they were forbidden from practicing their native religions, so they syncretized their deities with Catholic saints to preserve their spiritual traditions in secret. Its repetitive chants and invocations create a trance-like devotion, reflecting how music and prayer often merge in Cuban spiritual life. The song evokes the figure of Lazarus, both the resurrected man from the Bible and the humble beggar of Cuban folklore who walks with crutches and two loyal dogs. Through these images, the song becomes a meditation on suffering, compassion, and divine mercy.

    Celina González and Reutilio Domínguez were pioneers in fusing traditional Cuban son with sacred folk elements, creating songs that resonated with both the dance floor and the altar. Their partnership, musical and romantic, flourished in the 1950s, when songs like “San Lázaro” and “A Santa Bárbara” made them household names across Cuba and much of Latin America. In Colombia – especially along the Caribbean coast – the duo’s music was embraced for its raw spirituality and infectious rhythm. Celina’s passionate voice and Reutilio’s earthy guitar style captured the soul of rural Cuba, giving their devotion a universal pulse that still feels alive in every corner where faith and music meet.

    References:
    1. Celina & Reutilio – Wikipedia

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