All Right Now (1970) – Free

I can’t help but think of AC/DC and the Rolling Stones when this comes on. That punchy, wide-open guitar riff feels like something straight out of their playbook – only this song actually predates AC/DC by a few years. What really hooks me is the clipped, almost percussive strumming that gives the riff its circular, jangly grit.. Listen from 0.03 to 0:08 to catch the bit I mean – it repeats through the whole track and just sounds fantastic. Lyrically, there’s no grand philosophy here: it depict a man who encounters an attractive woman on the street and initiates a sexual encounter.

Learning that this song dates back to 1970 gave me a jolt. I assumed it came after the bands it now reminds me of, but the influence kinda runs the other way. All Right Now arrived as a bridge between late-60s blues-rock and the heavier, harder-edged sound that would define the 70s – proto hard rock, even an early hint of what glam and arena rock would become. It was innovative for its moment and helped shape where countless bands later took their music. A full-throttle rocker that somehow never wears out, no matter how often you play it.

The remaining of this article was mostly comprised from the Wikipedia references below:
All Right Now is a song by English rock band Free, released on their third studio album, Fire and Water (1970). It  peaked at No. 2 in the UK and No. 4 on the US causing quite a splash on both sides of the big pond. In 2006, the BMI London awards included a Million Air award for 3,000,000 air plays of the song in the USA. The song remains as a staple track of classic rock radio.

Composition

According to drummer Simon Kirke, “All Right Now” was written by Free bassist Andy Fraser and singer Paul Rodgers in the Durham Students’ Union building, Dunelm House. He said: “‘All Right Now‘ was created after a bad gig in Durham. We finished our show and walked off the stage to the sound of our own footsteps. The applause had died before I had even left the drum riser. It was obvious that we needed a rocker to close our shows. All of a sudden the inspiration struck Fraser and he started bopping around singing ‘All Right Now’. He sat down and wrote it right there in the dressing room. It couldn’t have taken more than ten minutes.” Fraser has agreed largely with this history.

Legacy

Although renowned for their live performances and non-stop touring, their music did not sell well until their third studio album, Fire and Water (1970), which featured the hit “All Right Now”. The song helped secure them a performance at the 1970 Isle of Wight Festival, where they played to an audience of 600,000 people. In the early 1970s they became one of the best-selling British blues rock. By the time they disbanded, they had sold more than 20 million records worldwide and had played in more than 700 arenas and festival concerts.

[Verse 1]
There she stood in the street
Smiling from her head to her feet
I said, “Hey, what is this, now, baby?” maybe
Maybe she’s in need of a kiss
I said, “Hey, what’s your name, baby?
Maybe we can see things the same
Now don’t you wait or hesitate
Let’s move before they raise the parking rate”
Ow!

[Chorus]
All right now, baby, it’s all right now
All right now, baby, it’s all right now

[Interlude]
Let me tell you now

[Verse 2]
I took her home to my place
Watchin’ every move on her face
She said, “Look, what’s your game, baby?
Are you tryin’ to put me in shame?”
I said, “Slow, don’t go so fast
Don’t you think that love can last?”
She said, “Love, Lord above
Now you’re tryin’ to trick me in love”

References:
1. All Right Now – Free
2. Free (Band) – Wikipedia

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Don’t Let The Sun Go Down On Me (1991) – Elton John (Ft. George Michael)

I became more familiar with this expansive, but vulnerable ballad during its 1991 resurgence, when it was recorded live as a duet between Elton John and George Michael and reached number one in both the UK and the US. It always gave me goosebumps when Michael introduced Elton John and their voices harmonised so naturally. Michael knew exactly how to handle the song in a way few singers ever manage with Elton John’s material. It’s uncanny how this song seems to capture everything I’m feeling in my life right now – and it’s not pretty, let me tell you.

The pair had originally performed the song together for the first time at Live Aid at Wembley Stadium in July 1985. During his headlining appearance at the Glastonbury Festival on 25 June 2023, John dedicated the song to Michael, who died in 2016

The song by British musician Elton John and lyricist Bernie Taupin was originally recorded by John for his eighth studio album, Caribou (1974), and was released as a single that peaked at number two on the US Billboard, and No. 16 on the UK Singles Chart. The song was actually cowritten by John and Taupin during a10 day  a ten-day period in January 1974 along with the other songs for John’s Caribou album. The chorus of the song features backing vocals by Brian Wilson, Carl Wilson and Bruce Johnston of the Beach Boys

Below I’ve included the live duet version by Elton and George, followed by the original studio release.

[Verse 1]
I can’t light no more of your darkness
All my pictures seem to fade to black and white
I’m growin’ tired, and time stands still before me
Frozen here on the ladder of my life

[Verse 2]
Too late to save myself from falling
I took a chance and changed your way of life
But you misread my meanin’ when I met you
Closed the door and left me blinded by the light

[Chorus]
Don’t let the sun go down on me (Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life (Don’t let the sun) to wander free
But losin’ everything is like the sun goin’ down on me

[Verse 3]
I can’t find, oh, the right romantic line
But see me once and see the way I feel
Don’t discard me just because you think I mean you harm
But these cuts I have, oh, they need love to help them heal

References:
1. Don’t Let the Sun Go Down on Me – Wikipedia

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Si No Te Hubieras Ido (1984) – Marco Antonio Solís

Someone once described today’s featured song as “one of those tracks Hispanic mothers play while cleaning the house on a Sunday.” Which gave me my first proper belly chuckle of the day – and, to be fair, there’s probably a lot of truth in it.

A friend showed me the live version of Si No Te Hubieras Ido (“If You Hadn’t Left”) by Mexican singer-songwriter Marco Antonio Solís a few weeks ago. I didn’t connect with it right away. The slightly dated, late-80s sounding intro doesn’t do the song many favours. But once Solís settles into that warm, aching power-ballad voice of his, and the strings start lifting the melody, the whole thing clicks into place. After a few listens, I found myself just as absorbed as any Solís fan. It’s clear why this became one of his signature songs.

Si No Te Hubieras Ido also reminds me a little of Leonard Cohen’s 1980s ballad Ain’t No Cure For Love. Both circle around longing and unresolved heartbreak, slowly building toward an emotional peak. They also share a similar ballad-style production typical of that era, which adds to the connection. Cohen’s writing, as usual, is in its own league, but Solís’ song stands strong on the power of its melody and its straightforward, lovesick lyrics.

This isn’t the first time Solís has shown up here, either. Back in January 2023, I wrote about “La Venia Bendita” (“The Reverential Blessing”), a track that captivated me from the first listen, and even after countless repeats, that fascination hasn’t faded.

The song was initially written by Solís in 1983, but was first recorded by another artist – Marisela. Her version was released as a single and became very successful in Mexico and she later included it on her live album. Marco Antonio Solís re-recorded the track to include it on his album Trozos de Mi Alma and it became another top-ten smash for Solís, peaking at No. 4 in the Billboard Hot Latin Tracks chart. This version was featured in the movie Y Tu Mamá También.

[Verso]
Te extraño más que nunca y no sé qué hacer / I miss you more than ever and I don’t know what to do
Despierto y te recuerdo al amanecer / I woke up and I remember you at dawn
Espera otro día por vivir sin ti / Wait another day to live without you
El espejo no miente, me veo tan diferente / The mirror doesn’t lie, I look so different
Me haces falta tú / I need you

[Pre-Coro]
La gente pasa y pasa siempre tan igual / People come and go, always the same
El ritmo de la vida me parece mal / The rhythm of life seems wrong to me
Era tan diferente cuando estabas tú / It was so different when you were here
Sí que era diferente cuando estabas tú
/ Yes, it was different when you were here

[Coro]
No hay nada más difícil que vivir sin ti / There’s nothing harder than living without you
Sufriendo en la espera de verte llegar / Suffering while waiting for you to arrive
El frío de mi cuerpo pregunta por ti / The coldness in my body asks for you
Y no sé dónde estás / And I don’t know where you are
Si no te hubieras ido sería tan feliz / If you hadn’t left, I would be so happy
No hay nada más difícil que vivir sin ti / There’s nothing harder than living without you
Sufriendo en la espera de verte llegar / Suffering while waiting for you to arrive
El frío de mi cuerpo pregunta por ti / The coldness in my body asks for you
Y no sé dónde estás / And I don’t know where you are
Si no te hubieras ido sería tan feliz / If you hadn’t left, I would be so happy

References:
1. Si No Te Hubieras Ido – Wikipedia

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Oxygène, Pt. 2 (1976) – Jean Michel Jarre

‘Hi-fi shops played it as an example of state-of-the-art music. I didn’t tell them I made it with Sellotape in my kitchen’
– Jean Michel Jarre

You know you’re onto something when a director like Peter Weir picks your music for one of his films – which he did with today’s featured piece, Oxygène, Pt. 2, in the classic Australian war film Gallipoli. This includes fragments of the scene where I first heard this immense track as a youngster, and it’s stayed lodged in my music memory ever since. If I want to get a bit trippy, I imagine this piece as a small, bending triangulum prism, with its centre holding that airy atmosphere of oxygen and space. One point connects it to a war film, another to a young French musician tinkering in his kitchen, and the third to the 1968 student uprisings that helped shape it.

Jean-Michel Jarre in his recording studio

It was in those uprisings where Jarre recalled the years of him drifting between rock bands, odd tape experiments, and trying to rebel in whatever way felt honest. Many laughed at the strange sounds he was pulling from his gear, but he kept trying to mix the experimental with something people could actually enjoy.

He says he built his kitchen studio from small savings, using only a few pedals, a Revox tape machine, and an EMS VCS3 synth. He realised that delaying the signal from one speaker made the room feel huge. His Mellotron barely worked, but it was enough to sketch out the melody for Oxygène, Pt. 2. Even his humble Korg Mini Pops drum machine only became interesting after he taped together two presets to make a new rhythm.

‘That’s the album cover!’ … Michel Granger’s Oxygène cover.

Jarre has said he wanted electronic music without vocals, tied somehow to nature and the environment. When he first saw Michel Granger’s painting of Earth peeling open to reveal a skull, he knew instantly: that’s the cover (image inset).

Record labels didn’t see the vision. They rejected the album for having no singer, no drummer, long tracks, and “being too French.” But Francis Dreyfus took the risk and pressed an initial 50,000 copies. Some buyers returned it, thinking the white noise was a defect. Then radio – especially in France and the UK – began playing full sides of the album, and things changed fast.

Oxygène went on to sell roughly 15 million copies worldwide. Jarre has made plenty of music since – big outdoor concerts, sequels to Oxygène, and new electronic experiments – but this album remains the one most closely tied to him.

References:
1. Jean-Michel Jarre: how we made Oxygène – The Guardian
2. Oxygène – Wikipedia

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Don’t Be Stupid (You Know I Love You) 1997 – Shania Twain

Sometimes when we’re head-over-heels, our minds start inventing problems that aren’t there. Today’s featured song is Shania’s blunt retort, Don’t Be Stupid (You Know I Love You) – basically her smiling, eyebrow-raised reply to that kind of romantic paranoia.

I really enjoy hearing that fiddle riff- a line-dancing pearl that would have shaken up any country dance hall. It also tapped into the late-90s wave of Celtic and Irish-flavoured pop (the Riverdance moment was very real), giving the track its bright little lift.

The song gets that extra push from Shania’s usual playful, slightly mischievous delivery. It’s not top-tier Shania for me, but it’s a guilty-pleasure track I’m always happy to hear once in a while. So no, Shania – we’re not being stupid. You made a tune that’s just plain likable.

The following was abridged from the Wikipedia article below:

This song also marks the moment she was moving from Country music and broaching into Pop Music especially evident with her official music video version of this song. It having a pop-oriented production that toned down the country instrumentation. The track received mixed reviews from music critics, who questioned why Twain released an “oddly disposable single.” Additionally, the track’s dance-pop’s remix, which was the version released for European and Australian audiences, was compared to Swedish group Rednex’s single “Cotton Eye Joe“.  

Commercially, the track performed well, hitting number six on the US Billboard Hot Country Songs and topping the Canadian RPM Country Tracks chart for one week. Internationally, it reached number five on the UK Singles Chart.

Don’t Be Stupid was released as the second single from her third studio album Come On Over. Twain entirely collaborated with producer and then-husband Robert John “Mutt” Lange. With both having busy schedules, they often wrote apart and later intertwined their ideas. Twain wanted to improve her songwriting skills and write a conversational album reflecting her personality and beliefs. The resulting songs explore themes of romance and female empowerment, addressed with humour.

Then Twain embarked on the Come On Over Tour, which ran from May 1998 to December 1999. The album spawned 12 singles, including three U.S. Billboard top-ten hits: You’re Still The One, From This Moment On and That Don’t Impress Me Much. The album received mixed reviews mainly because of country-pop experimentation, while others criticized the lyrics and questioned its country music categorization.

Cool
Yeah
Uh-uh, yeah

You’re so complicated
You hang over my shoulder when I read my mail
I don’t appreciate it
When I talk to other guys you think they’re on my tail

I get so aggravated
When I get off the phone and I get the third degree
I’m really feelin’ frustrated

Why don’t you take a pill and put a little trust in me
And you’ll see

Don’t freak out until you know the facts
Relax

Don’t be stupid, you know I love you
Don’t be ridiculous, you know I need you
Don’t be absurd, you know I want you
Don’t be impossible

Oh, oh yeah

I’m mad about you (I’m mad about you)
I can’t live without you (I can’t live without you)
I’m crazy ’bout you (I’m crazy ’bout you)
So don’t be stupid, you know I love you

Stop overreacting
You even get suspicious when I paint my nails
It’s definitely distracting
The way you dramatize every little small detail

Don’t freak out until you know the facts
Relax, Max

Don’t be stupid, you know I love you
Don’t be ridiculous, you know I need you
Don’t be absurd, you know I want you
Don’t be impossible

References:
1. Don’t Be Stupid (You Know I Love You) – Wikipedia

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Miserlou (1962) – Dick Dale

I heard this gnarly piece again the other day and realised I’d somehow never added it to my music library project. What surprised me was learning that Dick Dale’s explosive surf-rock take on Miserlou (often spelled Misirlou) traces back to a folk tune from the Eastern Mediterranean in the 1920s. No single author is known, but Arabic, Greek and Jewish musicians were already playing it by then, and the earliest confirmed recording comes from a 1927 Greek rebetiko/tsifteteli composition.

There are more versions than you could poke a stick at, and it’s interesting how each version works of Misirlou because the melody itself is stubborn and memorable. Yet the first time I recall hearing it was in Quentin Tarantino’s Pulp Fiction (1994), where it just slices straight through the film’s opening. He treated it as if it were jolt to wake up a ’90s audience.

Dale’s 1962 recording was huge because he pushed it with such physical intensity by wanting to see how fast he could play it on a single string – a challenge rooted in his Lebanese heritage and childhood memories of oud and mizmar melodies. That ferocity, paired with Fender’s custom-built Showman amps, birthed what many now think of as the sound of surf guitar. It’s wild, how there’s also a clear line connecting the piece back to older Middle Eastern scales and phrasing.

References:
1. Misirlou – Wikipedia
2. Songfacts – Miserlou

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Sunshine of Your Love (1967) – Cream

If you’re coming to Sunshine of Your Love fresh, you could easily think it’s a Hendrix tune. It carries that raw, slightly wild tone Hendrix was known for, but the riff was actually Jack Bruce’s creation on bass. Eric Clapton said in a 1988 interview that Bruce created the riff after attending a Jimi Hendrix concert. Fittingly, Hendrix later played the song onstage as a tribute when Cream broke up in 1968. He often played faster instrumental versions, usually dedicating them to Cream. A neat little full circle.

Bruce built the riff after an all-night writing session with lyricist Pete Brown. Nothing was working until Brown, exhausted, said, “It’s getting near dawn and lights close their tired eyes.” That line semed to have done the trick. The finished song became a shared vocal between Bruce and Eric Clapton, mixing bluesy weight, hard-rock and a touch of psychedelia.

The track appeared on Cream’s second album, Disraeli Gears (Nov. 1967), which marked their shift from blues-based rock into something more experimental and colourful. Their U.S. label wasn’t initially convinced the song would work as a single, but after some friendly pressure from other musicians, it was released in December 1967. It went on to become their biggest American hit – No. 5 on the Billboard charts – and one of 1968’s most popular singles. Back home in the UK, it landed more modestly at No. 25.

Cream kept Sunshine of Your Love as a concert staple, including during their 2005 reunion shows at the Royal Albert Hall. Over the years, the song has settled comfortably into the upper shelves of rock history, appearing on “greatest songs” lists from Rolling Stone, Q, VH1, and others. 

It’s getting near dawn
When lights close their tired eyes
I’ll soon be with you, my love
Give you my dawn surprise
I’ll be with you, darling, soon
I’ll be with you when the stars start fallin

[Chorus]
I’ve been waiting so long
To be where I’m going
In the sunshine of your love

[Verse 2]
I’m with you, my love
The light’s shining through on you
Yes, I’m with you, my love
It’s the morning, and just we two
I’ll stay with you, darlin’, now
I’ll stay with you ’til my seas are dried up

References:
1. Sunshine of Your Love – Wikipedia

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Thunder On The Mountain (2006) – Bob Dylan

Bob Dylan 2006 Interview

There’s Bob and then there’s everyone else.

Today’s featured song comes from what is probably my least favourite Bob Dylan album – Modern Times from 2006 (image inset). The irony is that Thunder on the Mountain is still one of my top twenty Dylan tracks from his post-2000 output. It’s a straight-up rockabilly gem. Dylan also slips in more than just a nod to his contemporary Alicia Keys, which I originally pointed out when writing about her magnificent song No One.

I was thinkin’ ’bout Alicia Keys, couldn’t keep from crying
But she was born in Hell’s Kitchen, I was living down the line
I’m wondering where in the world Alicia Keys could be
I been looking for her even clear through Tennessee

When Keys was made aware of what Dylan had written, she responded by saying:

He texted me saying, ‘You’re never gonna believe this…Bob Dylan wrote a song about you.‘ It’s a mind-blower and an honor. And then another part of me is wondering what he was thinking,” Keys told Mojo magazine.

Maybe he read something about me and it said when I was born and he got to thinking where he was in his life back then,” she continues. “I’m not sure what line he was living down then, but I know he knows, and he knows what it all means.

The media-shy Dylan hasn’t exactly been quick to clarify exactly how or why Keys became such a central part of ‘Thunder On The Mountain‘. In an interview with Rolling Stone, he told the magazine that after having been on a Grammy Awards show with Keys, he reportedly told himself ‘There’s nothing about that girl I don’t like.‘”

Being a Dylan fan, Keys was humbled with his paying homage to her.  She even covered his 1980 song ‘Pressing On‘ (from ‘Saved‘) for a music documentary.

I’m glad I’m in Bob Dylan’s songbook…I hope to meet him one day.


From the get-go Thunder On the Mountain has a groove that nods to rock ’n’ roll and rockabilly – a bit of a callback to old-school blues-influenced riffs. Lyrically, the song is a blend of romance, myth and a kind of apocalyptic thing happening: there’s talk of “thunder on the mountain,” “fires on the moon,” “ruckus in the alley,” and – even if there’s that nod to love as previously discussed.

Some interpreters suggest Dylan assumes the role of a kind of wandering prophet or messenger – a pilgrim of sorts, pledging service “night and day.” The song evokes a sense of urgency: there’s love, longing, but also a gathering storm – “mean old twister bearing down on me,” “pistols poppin’,” power down.

Musically the band delivers an all tight, blues-rooted with a swing that feels easy yet sharp. Dylan’s voice, a rasp honed by decades, now carries a kind of subtle croon, giving the song an effortless cool that belies the lyric’s inner tension.

The song, unsurprisingly got more airplay than almost any other track from Modern Times, and – though not released as a U.S. single – it charted on Billboard’s Adult Alternative Songs, peaking at No. 22 in early 2007. The song helped cement Dylan’s continued relevance even in his later years.

On stage, Thunder on the Mountain became a go-to. By late 2019, Dylan had played it hundreds of times – it easily became the most frequently performed song from Modern Times.

[Verse 1]
Thunder on the mountain, fires on the moon
There’s a ruckus in the alley and the sun will be here soon
Today’s the day, gonna grab my trombone and blow
Well, there’s hot stuff here and it’s everywhere I go

[Verse 2]
I was thinking ’bout Alicia Keys, couldn’t keep from crying
When she was born in Hell’s Kitchen, I was living down the line
I’m wondering where in the world Alicia Keys could be
I have been looking for her even clear through Tennessee

[Verse 3]
Feel like my soul is beginning to expand
Look into my heart and you will sort of understand
You brought me here, now you’re trying to run me away
The writing’s on the wall, come read it, come see what it say

[Verse 4]
Thunder on the mountain, rolling like a drum
Gonna sleep over there, that’s where the music coming from
I don’t need any guide, I already know the way
Remember this, I’m your servant both night and day

[Verse 5]
The pistols are poppin’ and the power is down
I’d like to try something’ but I’m so far from town
The sun keeps shining’
And the North Wind keeps picking up speed
Gonna forget about myself for a while, gonna go out and see what others need

[Verse 6]
I’ve been sitting down studying the art of love
I think it will fit me like a glove
I want some real good woman to do just what I say
Everybody got to wonder
What’s the matter with this cruel world today

[Verse 7]
Thunder on the mountain rolling to the ground
Gonna get up in the morning walk the hard road down
Some sweet day I’ll stand beside my king
I wouldn’t betray your love or any other thing

[Verse 8]
Gonna raise me an army, some tough sons of bitches
I’ll recruit my army from the orphanages
I been to St. Herman’s church and I’ve said my religious vows
I’ve sucked the milk out of a thousand cows

[Verse 9]
I got the porkchops, she got the pie
She ain’t no angel and neither am I
Shame on your greed, shame on your wicked schemes
I’ll say this, I don’t give a damn about your dreams

[Verse 10]
Thunder on the mountain heavy as can be
Mean old twister bearing down on me
All the ladies of Washington scrambling to get out of town
Looks like something bad gonna happen
Better roll your airplane down

[Verse 11]
Everybody’s going and I want to go too
Don’t wanna take a chance with somebody new
I did all I could and I did it right there and then
I’ve already confessed, no need to confess again

[Verse 12]
Gonna make a lot of money, gonna go up north
I’ll plant and I’ll harvest what the earth brings forth
The hammer’s on the table, the pitchfork’s on the shelf
For the love of God, you ought to take pity on yourself

References:
1. Thunder on the Mountain – Wikipedia

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Elf (2003) – Jon Favreau (Friday’s Finest)

I caught Elf a few days back on cable and had a merry ol’ time. I’ve seen it plenty of times, so I figured I should finally do a write-up for my Friday’s Finest segment. I don’t think I’ve ever covered a Christmas movie before, and this felt like as good a place as any to start. Elf, Step Brothers, and the Anchorman contain my favourite Will Ferrell performances. Unlike the latter two – definitely geared toward adults and full of crass, over-the-top humour – Elf is a family movie that pretty much anyone can enjoy.

IMDB Storyline:

Buddy was a baby in an orphanage who stowed away in Santa’s sack and ended up at the North Pole. Later, as an adult who happened to be raised by elves, Santa allows him to go to New York City to find his birth father, Walter Hobbs. He, who is on Santa’s naughty list for being a heartless jerk, had no idea that Buddy was even born. Buddy, meanwhile, experiences the delights of New York City (and human culture) as only an elf can. When Walter’s relationship with him interferes with his job, he is forced to reevaluate his priorities.

Elf also shows that Will Ferrell can be very funny without leaning on crude or offensive jokes. He really goes to town in this role, and you can tell he’s having a lot of fun. There aren’t many comedic actors who could play an adult with the naivety and single-minded enthusiasm of a child as perfectly as Ferrell does here. He absolutely nails Buddy. James Caan does a great job too as the Scrooge-like father (rest in peace, 1940–2022).

Over the years, Elf has quietly become one of my favourite Christmas movies to revisit. I also enjoy National Lampoon’s Christmas Vacation for a good laugh too – especially since the original Vacation is one of my all-time favourite comedies – but I think Elf delivers the best bang for buck between the two Christmas movies.

Sure, Elf isn’t going to win any awards for best comedy, and I can already hear some of you saying there are far better Christmas movies out there – like Frank Capra’s It’s a Wonderful Life. But I like Elf because it’s breezy, full of Christmas spirit, funny as heck in many places, and it’s one of those movies you can rewatch every festive season without it getting old. Interestingly, when I ran an AI search on my Brave browser, Elf actually popped up in its top 10 Christmas movies. So there ya go!

Interesting Trivia

  • The scene when Buddy eats different candies and pastries with the spaghetti noodles had to be shot twice, because Will Ferrell vomited the first time.
  • Several minor traffic accidents occurred when Will Ferrell walked through the Lincoln Tunnel in his costume, because people were so surprised (and distracted from their driving) to see him wearing an elf outfit.
  • Will Ferrell turned down $29 million to be in a sequel in late 2014. James Caan revealed that the reason was that Ferrell and Jon Favreau didn’t get along.

Below are some funny scenes from Elf you might enjoy revisiting. Thanks for reading.

References:
1. Elf (film) – Wikipedia
2. Elf – IMDB

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Swan Lake (1875) – Pyotr Ilyich Tchaikovsky

As I get older, my appreciation for classical music only grows stronger. The spark that set it off when I was young came from my grandmother, Dorothy Walton (pictured), who was a classical pianist. Her love for the music – sitting at the piano just as you see here – was really the reason I started my music library project back in 2019. It’s something that’s shaped my life more than I ever expected.

Dot, as everyone called her, was always reading. She borrowed books from the library every week and tore through them until it was time to return them and get more. And when she wasn’t reading, she was at the piano. Writing this now makes me get teary. My Nan and I were completely in sync; there was nothing she could do wrong in my eyes, and nothing I could do wrong in hers. When you love someone like that… the little things become everything.


Today we have a Swan Lake special, spotlighting three stand-out moments from Tchaikovsky’s immortal ballet – perhaps the most instantly recognisable in the classical canon. In order of their appearance, they are: the Swan Lake Waltz (Act I, No. 2), the Dance of the Little Swans (Act II, No. 13), and the storm-tossed Scene Finale (Act IV, No. 29).

The ballet’s hold on western culture remains very strong. Two recent cinematic touchstones spring to mind: Black Swan (2010), which refracts the ballet’s obsession with duality and desire, and Billy Elliot (2000), where the film’s climax erupts into the very same Scene Finale older Billy leaping high onto the stage.

Tchaikovsky wrote Swan Lake in 1875–76, using old Russian and European stories about women who turn into swans. The first performance in 1877 at the Bolshoi Theatre didn’t go well. Critics said the dancing and staging were messy. The basic story, though, is very clear: Prince Siegfried falls in love with Odette, who has been turned into a swan by the sorcerer Rothbart. Their love is challenged by lies, sadness, and the appearance of Odile – the Black Swan – who looks like Odette but isn’t anything like her. In modern versions, the ending changes: sometimes the couple dies, sometimes they’re reunited. It depends on what the director wants.


Swan Lake Waltz (Act I, No. 2)

This waltz shows up early during the prince’s birthday party. There are lights, fancy outfits, and everyone trying to look their best. The music feels light and social, almost like a warm-up before the story really gets going.

Dance of the Little Swans (Act II, No. 13)

This is one of the scenes most people know: four dancers linked together, moving in quick little steps. It happens by the lake where Siegfried first meets Odette. The “little swans” bring a bit of fun and tight teamwork to the moment. The music is fast and neat, almost like Tchaikovsky wanted to test how well the dancers could stay together.

Scene Finale (Act IV, No. 29)

This is where everything hits its peak. The music grows loud and tense as the lovers face their final moment. Some versions end sadly, others more hopeful, but the music makes it clear that this is the big emotional punch. It’s easy to see why Billy Elliot used it for such a powerful ending.


Swan Lake wasn’t a big hit at first and only became famous after Tchaikovsky died. The 1895 version by Marius Petipa and Lev Ivanov fixed many of the earlier problems and turned it into the classic we know today. Since then, it’s been performed by almost every major ballet company and keeps showing up in movies, TV, and all sorts of places in popular culture.

References:
1. Swan Lake – Wikipedia

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Posted in Music

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