The Weary Kind (Theme From Crazy Heart) 2009 – Ryan Bingham & T Bone Burnett

Posted on August 27, 2025 by observationblogger — 5 Comments

This 2010 Academy Award-winning song is one of my favourite country ballads, and an unusual one at that. Typically, such songs are about love, heartbreak, or rural life. But The Weary Kind feels more like a piece of hard-earned advice – aimed at a cowboy who’s pushed his luck too many times and is about to be swallowed whole by the rough-and-tumble world (a world that doesn’t take any prisoners) if he doesn’t clean up his act. Since this song is the main theme of the movie Crazy Heart, it’s self-evident that it’s directed at the country singer Bad Blake, played by Jeff Bridges. He’s a man who has tried to bluff and out-cheat life too long by leaning on booze, risky living, and denial – and now stands on the precipice of collapse.

For most of my adult life, like the protagonist, I too succumbed to alcoholism, and so I related deeply not just to the film but to this song. Three lines in particular continue to leave their mark on me, perhaps more than almost any others:

And this ain’t no place for the weary kind
And this ain’t no place to lose your mind
This ain’t no place to fall behind

I live in Bogotá, Colombia, and I have two young kids to raise. I can’t afford to lose my footing the way Bad Blake does in the film, because here, if I fall apart, this place could swallow me whole – and my family along with me. There are no two ways about it. These lines are a constant reminder that I have to stay in top shape, mentally and physically, to face the harsh realities of what life here can bring. For a foreigner from the other side of the globe (Australia), Bogotá most definitely ain’t a place to lose your mind.

Learning to live without being enslaved to alcohol and nicotine has been a godsend. Ideally, I want to push my energy outward – to give up greed, give up lust, to let go, and surrender everything to the divine animating force that pervades all things: the Logos.

Crazy Heart is one of my favourite recent movies and earned Jeff Bridges his first Academy award after seven nominations. It was made for just 7 million dollars but grossed 47 million. As aforementioned the principal song from Crazy Heart is The Weary Kind which won the Academy Award for Best Original Song. The whole soundtrack is great (thanks in large part to T-Bone Burnett), and there’s another song which stood out for me and featured here recently called Fallin’ & Flyin’. 

Your heart’s on the loose
You rolled them sevens with nothing to lose
This ain’t no place for the weary kind

You called all your shots
Shooting eight ball at the corner truck stop
Somehow this don’t feel like home anymore

And this ain’t no place for the weary kind
And this ain’t no place to lose your mind
This ain’t no place to fall behind
Pick up your crazy heart and give it one more try

Your body aches
Playing your guitar, sweating out the hate
The days and the nights all feel the same

Whiskey has been a thorn in your side
It doesn’t forget
The highway that calls for your heart inside

And this ain’t no place for the weary kind
This ain’t no place to lose your mind
This ain’t no place to fall behind
Pick up your crazy heart and give it one more try

Your lover’s warm kiss
Is too damn far from your fingertips
You are the man that ruined her world

Your heart’s on the loose
You rolled them sevens with nothing to lose
And this ain’t no place for the weary kind

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The Way It Is (1986) – Bruce Hornsby and the Range

Posted on August 26, 2025 by observationblogger — 8 Comments

As a teen hearing this song – The Way It Is, I liked the catchy piano riffs and Hornsby’s cool, intimate vocals, even though it seemed to appeal more to an adult audience with its steady tempo and jazz-inflected sound. I heard it only sparingly over the years, but always enjoyed it. The song, which topped the US charts and reached the top 20 in Australia, the UK, and other countries, added a welcome diversity to Top 40 playlists that were otherwise dominated by uptempo, synth-driven tracks. This is the second song from Hornsby to feature here in fairly quick succession after The Show Goes On – a happy quirk of the alphabetical sequence of song titles.

Most of the following was abridged from the references below:
The Way It Is is about the division between rich and poor and racial segregation. It makes explicit reference to the Economic Opportunity Act, also known as the 1964 Poverty Act, as well as the Civil Rights Act of 1964. The song deal with the need to resist complacency and never resign yourself to racial injustice as the status quo.

Hornsby grew up in Virginia, which isn’t where you would expect a song about racial and economic tolerance to originate. He was raised with these values though. Hornsby told NME: “My mother came from the New England area, and she was a little more enlightened about racial subjects than a lot of people in the South. So I had a different attitude to a lot of my friends whose parents were more conservative. He added: “When I was brought up, the vibe I got of Martin Luther King in my town was that he was a real evil man – just the vibe in the air, that he was terrible. And if you grow up in that environment you can’t help but be affected by it a little bit. Luckily, I came from a family that guarded us against that conservatism, but sure, I grew up in the thick of all that bad feeling.”

Hornsby had been working as a staff songwriter for years with no luck getting a record deal. With his attempts to appeal to popular taste falling short, he decided to make a demo of songs in his own style – ECM jazz – a distinctive style of jazz that emerged in the late 1960s and early 1970s, primarily associated with the Munich-based record label ECM (Edition of Contemporary Music)and included this track. He sent the demos to major record producers and signed with RCA because they offered him creative freedom. They were rewarded when this song and the album became huge hits.

Hornsby and his band were not exactly MTV-ready, but the video for this song did well on the network. In the stark performance clip, none of the musicians ever stand up – some folks were surprised when they saw Hornsby in person and realized he was 6′ 4″.

[Verse 1]
Standing in line, marking time
Waiting for the welfare dime
‘Cause they can’t buy a job
The man in the silk suit hurries by
As he catches the poor old ladies’ eyes
Just for fun, he says, “Get a job”

[Chorus]
That’s just the way it is
Some things will never change
That’s just the way it is
Ha, but don’t you believe them

[Verse 2]
They say, “Hey, little boy, you can’t go where the others go
‘Cause you don’t look like they do”
Said, “Hey, old man, how can you stand to think that way?
Did you really think about it before you made the rules?”
He said, Son

[Verse 3]
Well, they passed a law in ’64
To give those who ain’t got a little more
But it only goes so far
‘Cause the law don’t change another’s mind
When all it sees at the hiring time
Is the line on the color bar, ooh, no

References:
1. The Way It Is (Bruce Hornsby song) – Wikipedia
2. The Way It Is – Songfacts

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Free as a Bird (Anthology 1 Version) 1995 – The Beatles

Posted on August 25, 2025 by observationblogger — 4 Comments

Fellow blogger Nancy at The Elephant’s Trunk posted today’s featured track by the Beatles – Free As A Bird  – a reworked version released in 1995 from a home demo John Lennon recorded in 1977. I was so impressed with it, just as I was with another demo I shared here not too long ago – Strawberry Fields Forever (Demo Sequence Anthology 2 Version). I honestly would buy an entire album of just Beatles demos, even though Free As A Bird is a posthumous reworking. What draws me in are the rough edges and the feeling of hearing something still in motion. They carry a certain intimacy in their looseness and experimentation – like George Harrison’s touching slide guitar solo here for his old friend, or the poignant moment in the outro when the words “Made for John Lennon” are heard.

The following was abridged from the Wikipedia article below:
25 years after the Beatles break-up and 15 years after Lennon’s murder, Paul McCartney, George Harrison and Ringo Starr released a studio version of ‘Free as a Bird‘ in 1995 incorporating the Lennon demo. It was released (see image left) as part of the promotion for The Beatles Anthology video documentary and the Anthology 1 compilation album. The B side was Christmas Time (Is Here Again). The song peaked at No. 2 on the UK Singles Chart and No. 6 on the US Billboard.

Background

Ono says that it was Harrison and former Beatles road manager Neil Aspinall who initially asked her about the concept of adding vocals and instrumentation to Lennon’s demo tapes. Ono stated “People have said it was all agreed when Paul came over to New York to induct John into the Rock and Roll Hall of Fame, but it was all settled before then. I just used that occasion to hand over the tapes personally to Paul.”

Free as a Bird was one of four Lennon songs (along with Grow Old With Me, Real Love and Now and Then) for which McCartney, Harrison and Starr contributed additional instrumentation, vocals and arrangements. Jeff Lynne, who had worked with Harrison on Harrison’s album Cloud Nine and as part of the Traveling Wilburys, co-produced. During an interview for the Anthology project, McCartney revealed that he was surprised to learn that Lennon’s demos of “Grow Old With Me” and “Real Love” had already been released and were well known by Lennon fans.

So, McCartney went to Ono’s home after the induction ceremony at the Rock and Roll Hall of Fame to listen to, and receive, the Lennon demo tapes; he recalls the meeting with Ono:

She was there with Sean … and she played us a couple of tracks. There were two newies on mono cassettes which he did at home … [s]o I checked it out with Sean, because I didn’t want him to have a problem with it. He said, “Well, it’ll be weird hearing a dead guy on lead vocal. But give it a try.” I said to them both, “If it doesn’t work out, you can veto it.” When I told George and Ringo I’d agreed to that they were going, “What? What if we love it?” It didn’t come to that, luckily. I said to Yoko, “Don’t impose too many conditions on us, it’s really difficult to do this, spiritually. We don’t know, we may hate each other after two hours in the studio and just walk out. So don’t put any conditions, it’s tough enough.”

Ono recognised that she was now in a position of bringing the band back together after previously being criticised for splitting them up.

[Chorus]
Free as a bird
It’s the next best thing to be
Free as a bird

[Post-Chorus]
Home, home and dry
Like a homing bird, I’ll fly
As a bird on wings

[Verse 1: Paul McCartney]
Whatever happened to
The life that we once knew?
Can we really live without each other?
Where did we lose the touch
That seemed to mean so much?
It always made me feel so—

[Chorus]

[Post-Chorus]

[Verse 2: George Harrison]
Whatever happened to
The life that we once knew?
Always made me feel so free

[Guitar Solo – George Harrison]

[Chorus]

[Outro]
Free
Made for John Lennon

References:
1. Free as a Bird – Wikipedia

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Goodbye Again (1989) – Mary Chapin Carpenter

Posted on August 24, 2025 by observationblogger — 3 Comments

I had heard of Mary Chapin Carpenter’s name before, but I didn’t recall her music until my friend Christian in New York mentioned today’s featured song – Goodbye Again in his blog. I found it such a haunting and heartfelt piece, distilling the ache of loneliness and the bittersweet pull of memory. It’s like a woman looking back, measuring her twilight years against the shadow of a love that still lingers. I hope to seek out more of her work in the future. So over to Christian:

Mary Chapin Carpenter, who was born in Princeton, N.J., is a country and folk singer-songwriter. If you don’t know Carpenter but are a frequent Sunday Six traveler, her name may still sound familiar since we first visited her during another time travel excursion in February this year. Inspired by her mother Mary Bowie Robertson, who was a folk singer and guitarist, and her guitar-playing seventh-grade science teacher (gotta love that!), Carpenter picked up the ukulele and classical guitar and began writing songs during her childhood. As a 16-year-old, she started performing at folk venues in Washington, D.C., after her family had relocated there. In 1987, Carpenter got a deal with Columbia Records and released her debut album Hometown Girl later that year. Goodbye Again, penned by Carpenter, is from her June 1989 sophomore release State of the Heart. Just last week, her latest album Personal History dropped, which brought Carpenter back on my radar. I’m glad it did!

– The Sunday 6 – Christian’s Music Musings 15/6/2025

[Verse 1]
Every night she sleeps alone
And by her bed she puts the phone
And every morning after that
She takes the phone and puts it back
He’s got a wife back home
And three kids up and grown
But these are things that go unsaid
He might call her from the road just in time
To say ‘Hello’ and ‘Goodbye’ again

[Verse 2]
She keeps his picture tucked away
She think she might have it framed one day
And maybe he’ll come see it there
Hanging by her rocking chair
In a corner of her room, on a Sunday afternoon
When all the world is dull and gray
She might close her eyes and sit, rocking gently for a bit
‘Til all the bad thoughts go away

[Verse 3]
Back when children played their games
London Bridge and Jesse James
She captured flags, she bounced the ball
And every time she beat them all
And now she comes home to a cat
In a three room walk up flat
And plays a game of solitaire
Well she made a fist last night
And she broke the hallway light
And the pieces scattered everywhere

[Verse 4]
You see he’s got a wife back home
And three kids up and grown
But these are things that go unsaid
He might call her from the road just in time
To say ‘Hello’ and ‘Goodbye’ again

References:
1. Mary Chapin Carpenter – Wikipedia

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Aquero (2019) – Bernadette de Lourdes Musical (Ft. Eyma)

Posted on August 21, 2025 by observationblogger — 9 Comments

I first came across Aquero from the French musical Bernadette de Lourdes when I saw its trailer at my local cinema a few weeks ago. The moment I heard Eyma (pictured above), who plays Bernadette Soubirous, sing the chorus, it sent chills up my spine. I instantly knew I had to track it down – despite the fact it was in French and the song’s title wasn’t revealed in the trailer. After some extensive searching – and very much worth the effort – I can now share with you today: Aquero.

Aquero is the opening song from the French musical “Bernadette de Lourdes,” which recounts the story of Bernadette Soubirous and her reported visions of the Virgin Mary at the grotto of Massabielle in Lourdes. Aquero is not a standard French word rather it’s a specific term – notably related to the apparitions of the Virgin Mary to Bernadette Soubirous in Lourdes, France. In this context, “aquero” (often spelled “Aquerò” in Italian or “Aquero” in Spanish) is the term Bernadette used to refer to the apparition she saw. It translates to “that thing“ or “that“ in English. 

The musical premiered on July 1, 2019, at the Espace Robert Hossein in Lourdes, near the actual site of the apparitions. As aforementioned Aquero opens the show which depicts the moment when the young Bernadette is questioned by the commissaire Jacomet about her vision, which she describes as Aquero. The production was created by Éléonore de Galard and her husband, composer Grégoire de Galard, with the aim of presenting a historically grounded and non-proselytizing portrayal of Bernadette’s story. The song was first released on the album “Bernadette de Lourdes (Deluxe)” in 2020 and was written by Lionel Florence and Patrice Guirao.

Below is the English translation of Aquero:

When the sky is revealed
And the earth comes alive
Like a shower of stars
A glimmer illuminates

When beautiful ignorance
Is no longer the night of men
But what is innocence
The one that forgets no one

Aquero
A-quero
A-que-ro
A-que-ro

When we know that love
Does not have a name…
Because it is all around
And knows every first name…

When the gentle breath comes…
So that hearts can breathe
And that the desire for a smile slips into us…

Aquero…
A-quero
A-que-ro
Aquero

While the drums beat…
So that men awaken
on Earth
So that they finally say that forever
She will be the one who enlighten…

Aquero..
A-quero
A-quero
Aquero

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I’m On Fire (1984) – Bruce Springsteen

Posted on August 20, 2025 by observationblogger — 18 Comments

Next to Dancing in the Dark, I’m on Fire is perhaps Springsteen’s most popular song. It rivalled – or even eclipsed – classics such as Born in the USA or Born to Run in terms of mainstream appeal. As a single, it reached No. 6 on the U.S. Billboard during the height of Born in the U.S.A. mania, while the title track itself only climbed to No. 9. On Spotify, I’m on Fire remains Bruce’s second most played song, which is remarkable given his massive catalogue.

Yet despite that success, it was curiously underrepresented in his own career retrospectives – only showing up on the 2009 Greatest Hits (the E Street Band edition). Among hardcore fans, it doesn’t usually rank as a top-tier Springsteen track either. Spotify numbers can be misleading anyway, since they often skew younger and don’t necessarily reflect where the “average” Springsteen diehard is coming from. I wouldn’t personally put it in my Bruce top tier either, but I still resoundingly dig it.

Most people still picture his goofy, awkward dancing in the Dancing in the Dark video (and fair enough—it’s a bit of a shocker), but I’m on Fire is its polar opposite. It’s dark, minimalist, and hypnotic, with a moody country twang which fits into “alternative 80s” playlists and gives it unexpected indie credibility. At the same time, it’s so clean and versatile it can show up anywhere: an oldies station, a soft-rock mix, even playing over the PA at a grocery store. Unlike some of the big, booming stadium rockers, it doesn’t feel as rooted in its era, and it still retains a pop edge that something like Nebraska – for all its brilliance – just doesn’t.

I’m on Fire was released in February 1985 as the fourth single from Born in the U.S.A., and was one of seven Top 10 hits from the album, cementing Springsteen’s status as a huge global star. But what set it apart (as alluded to above) was its atmosphere: a simple drum-machine beat, hushed synths, and a muted guitar line – a more vulnerable Bruce, if you will. Also the video, cast him as a small-town mechanic yearning for the unattainable, amplifying a restrained sensuality. Basically it showed that Bruce could whisper as effectively as he could roar.

[Verse 1]
Hey, little girl, is your daddy home?
Did he go away and leave you all alone?
I got a bad desire
Oh, oh, oh, I’m on fire

[Verse 2]
Tell me now, baby, is he good to you?
And can he do to you the things that I do?
Oh no, I can take you higher
Oh, oh, oh, I’m on fire

[Bridge]
Sometimes it’s like someone took a knife, baby, edgy and dull
And cut a six-inch valley through the middle of my skull

[Verse 3]
At night, I wake up with the sheets soakin’ wet
And a freight train runnin’ through the middle of my head
Only you can cool my desire
Oh, oh, oh, I’m on fire
Oh, oh, oh, I’m on fire
Oh, oh, oh, I’m on fire

Reference:
1. I’m on Fire – Wikipedia

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Love Hurts (1961) – Roy Orbison

Posted on August 19, 2025 by observationblogger — 10 Comments

Love Hurts was written and composed by the American songwriter Boudleaux Bryant. It was first recorded by the Everly Brothers in July 1960, but was never released as a single due to a falling out with the manager. Love Hurts was first released as a single by Roy Orbison in 1961 as the B-Side to the No.1 smash hit Running Scared. While Running Scared was an international hit, the B-side Love Hurts only picked up significant airplay in Australia and went to No. 5.

What’s real is that Roy would go on to experience enough tragedy and hurt to fill several lifetimes by the sudden loss of his children and wife. (You can read more information about that in the Guardian article below or in my previous song articles about Roy). If any voice can impress upon the listener the ineffable pain and sorrow ‘Love’ can bring, then it would be Roy’s as demonstrated here in this timeless classic. Even Elvis said that Roy Orbison’s voice as “the most perfect voice” and publicly called Orbison “the greatest singer in the world” during one of his Las Vegas concerts.

Performed as a power ballad, the most popular version of Love Hurts was by the Scottish power rock band Nazareth whose version reached No. 8 on the US Billboard and peaking at No. 1 in many countries.

Love hurts, love scars
Love wounds and mars
Any heart not tough
Nor strong enough
To take a lot of pain, take a lot of pain
Love is like a cloud, holds a lot of rain
Love hurts
Love hurts

I’m young, I know
But even so
I know a thing or two
I learned from you
I really learned a lot, really learned a lot
Love is like a stove, burns you when it’s hot
Love hurts
Love hurts

Some fools rave of happiness
Blissfulness, togetherness
Some fools fool themselves, I guess
But they’re not foolin’ me

I know it isn’t true, know it isn’t true
Love is just a lie made to make you blue
Love hurts
Love hurts
Love hurts

References:
1. Roy Orbison: Love Hurts review – enough tragedy to fill several lifetimes – The Guardian
2. Love Hurts – Wikipedia

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The Valley of Swords (1979) – Mike Batt & Friends

Posted on August 18, 2025 by observationblogger — 2 Comments

The Valley of Swords by Mike Batt (image left) comes from the No. 1 album in our household growing up, Tarot Suite. This 40-minute record, inspired by tarot card imagery, blends orchestral flourishes with progressive rock and folk influences. My father was enthralled by it and would often set the needle down whenever we had guests. I, too, felt compelled to share it—going so far as to introduce songs from Tarot Suite to my school friends on a camping trip.

The Valley of Swords (The Chariot, Justice) is an engaging, yet unusual orchestral piece (from the London Symphony orchestra) in which the Shawm (image left) brings in a distinct sense of regal fanfare from a bygone era. The Shawm is an ancestor of the modern oboe and used as a court instrument from the middle ages through to the renaissance.

Mike Batt’s liner notes portray The Chariot as symbolizing ““Represent[ing] conquest, either mental or physical. Motion, achievement. The young Charioteer rides confidently and triumphantly.” Musically, the piece moves fluidly through different sections of the orchestra and even pauses to spotlight Ricky Hitchcock on lead guitar. The structure is recognizable: a gentle, restrained introduction of the melody that later swells as the full orchestra joins in. There’s a strong sense of forward momentum, the kind of music one might imagine accompanying a celebratory journey or victorious passage.

Mike Batt is a British composer, songwriter, and producer known for his eclectic musical style, blending classical orchestration with pop, rock, and folk influences. Tarot Suite was the traditionally difficult follow-up second album which he had the following to say:

“The success of my first solo album, Schizophonia had spurred me on, and I wanted to make a truly cohesive album that had a dramatic concept on which to hang the ideas. I had always been fascinated by the artwork and the tradition of Tarot Cards. I wasn’t really that interested in the occult, – I suppose I was curious like anyone else, but I got to know the various Tarot packs and read a lot about them. I decided to write an album (“Tarot Suite”) which would once again combine my more experimental combination of rock and symphonic instruments and ideas with songs, some of which could be quite simple. Looking back, I think it was the most cohesive of my solo albums.”

References:
1. Day Eighteen: Mike Batt and Friends – Tarot Suite – Verging on Vinyl

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Terrible Love (2010) – The National

Posted on August 17, 2025 by observationblogger — 10 Comments

Terrible Love is another track by the American indie rock band The National defined by its atmospheric soundscapes and dense instrumentation. It’s a slow-burning, melodic piece that builds gradually – much like Runaway, which I featured here last year. Both songs come from the same album, High Violet (2010), and share a theme of relationships that seem destined to unravel. From the very first line, as Matt Berninger sings “It’s a terrible love and I’m walkin’ with spiders,” we’re reminded that love can hurt – that it can feel like being quietly entangled in a web that tightens until it suffocates. This kind of restrained, brooding music isn’t for everyone, but it resonates deeply with me.

High Violet is the fifth studio album by The National which they produced themselves (see image inset). They performed opening track Terrible Love on Late Night with Jimmy Fallon, two months before the album’s release. High Violet was released to widespread critical acclaim receiving a score of 85 out of 100 based on 36 reviews. It appeared on several publications’ year-end lists of the best albums of 2010. Time named it the fourth best album of the year, and it also placed at number 15 on Rolling Stone‘s list of the 30 best albums of 2010.

More songs will be presented here from this record so stay tuned folks…

[Chorus 1]
It’s a terrible love and I’m walkin’ with spiders
It’s a terrible love and I’m walkin’ in
It’s a terrible love and I’m walkin’ with spiders
It’s a terrible love and I’m walkin’ in

[Post-Chorus]
This quiet company
This quiet company

[Chorus 1]

[Post-Chorus]

[Verse 1]
And I can’t fall asleep
Without a little help
It takes a while to settle down my shivered bones
Until the panic’s out

[Chorus 2]
It takes an ocean not to break
It takes an ocean not to break
It takes an ocean not to break
It takes an ocean not to break

[Post-Chorus]

[Verse 2]
But I won’t follow you
Into the rabbit hole
I said I would but then I saw your shivered bones
They didn’t want me to

[Chorus 1]

[Chorus 2]

References:
1. High Violet – Wikipedia

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The Unguarded Moment (1981) – The Church

Posted on August 16, 2025 by observationblogger — 12 Comments

If there was one song that encapsulated the frenetic, anticipatory glee of my late-teen party days, it would have to be today’s featured track – The Unguarded Moment. I can still picture it blasting through the corridor of our Academy block in 1992 on a Friday evening, as we dressed to the nines in fever-pitch mode, waiting for the clock to finally grant us leave-time in Canberra to paint the town red. It’s such a free-spirited and uplifting track which has a jangling, psychedelic tinged sound and that I have never grown tired of.

Apart from this song, I know next to nothing about the Australian alternative rock band The Church, so join me as we take a little meander through their background. The Unguarded Moment comes from The Church’s debut album Of Skins and Heart released in 1981. The song reached No. 22 on the Australian singles chart, and was the band’s first radio hit. The song is said to tip its hat to the Beatles, particularly Ticket to Ride, in terms of its riff.

The Unguarded Moment was co- written by Steve Kilbey, the group’s frontman, singer and bass guitarist who later said “The song just doesn’t appeal to me. It doesn’t give me any pleasure at all. Maybe it was exciting for people who thought the country was going to be bogged down with the Human League and Buggles for the decade.”

The Church who formed in Sydney in 1980 is best known for their dreamy, atmospheric sound that blends jangly guitars with moody, psychedelic textures. They later found international recognition with their 1988 hit Under the Milky Way which resembles the band sound and vocals of Grant McLennan from The Go-Betweens who were also prominent at that time.

Despite lineup changes over the years, The Church have remained a consistent creative force, releasing more than 25 albums that explore post-punk, alternative rock, and psychedelic influences. Today, they’re regarded as one of Australia’s most enduring and influential bands.

[Verse 1]
So hard finding inspiration
I knew you’d find me crying
Tell those girls with rifles for minds
That their jokes don’t make me laugh
They only make me feel like dying
In an unguarded moment

[Verse 2]
So long, long between mirages
I knew you’d find me drinking
Tell those men with horses for hearts
That their jibes don’t make me bleed
They only make me feel like shrinking
In an unguarded moment

[Verse 3]
So deep, deep without a meaning
I knew you’d find me leaving
Tell those friends with cameras for eyes
That their hands don’t make me hang
They only make me feel like breathing
In an unguarded moment
In an unguarded moment
In an unguarded moment

[Outro]
In an unguarded moment
In an unguarded moment

References:
1. The Unguarded Moment (song) – Wikipedia

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