Sugar Baby Love (1974) – The Rubettes

In the early 1970s, Wayne Bickerton and Tony Waddington wrote a number of songs only to have them rejected by every recording artist they sent them to.  So, they did what any zealous songwriter would do; they created a band and called it, The Rubettes.

Sugar Baby Love – Seventies Music

Sugar Baby Love is a dazzling ‘doo-wop’ song that instantly turns me into a teenager. The other day I was watching the start of the fabulous Australian movie Muriel’s Wedding (Toni Collette’s break-out movie) where today’s featured track appears. I instantly added it to my music library project because Sugar Baby Love always gives me with that ‘guilt-free’ sugar rush. It is glam rock’s venture into the realm of rock ‘n’ roll tribute music. ‘Cheesy pop’ or better known as ‘Bubblegum Pop’ at its finest.

This record begins with ‘Twist and Shout’ Aaaahs that overlap and ascend and then, fifteen seconds in, a falsetto so high and piercing knocks you sideways.
Sugar baby love, Sugar baby lo-ove, I didn’t mean to make you blue…
The singer is trying to suck up to his sweetheart and apologise for an unspecified misdemeanour. As you do…

Cowriter Wayne Bickerton recalled:

We had Paul DaVinci singing in that incredibly high falsetto voice and then a vocal group sings ‘Bop-shu-waddy’ over and over for about 3 minutes. Gerry Shury, who did the string arrangements, said, ‘This is not going to work: you can’t have a vocal group singing ‘Bop-shu-waddy’ non-stop.’ A lot of people said the same thing to us and the more determined I became to release it. The record was dormant for 6 or 7 weeks and then we got a break on Top of the Pops and it took off like a rocket and sold 6 million copies worldwide. Gerry said to me, ‘I’m keeping my mouth shut and will concentrate on conducting the strings.‘”

Sugar Baby Love was The Rubettes first and only No. 1 song and released in the same month as my birthday – January 1974. Yippy! It stayed at No. 1 for 4 weeks on the UK charts. It also peaked at No. 37 in the US. After they released Sugar.. they produced eight more UK top 40 songs. They also released ten albums, the last being in 1995, although they continue to tour (in one form or another) today. On stage, The Rubettes are known for their trademark white suits and cloth caps.

On 21 September 2014, as part of the Rubettes 40th anniversary, original members, Alan Williams, John Richardson and Mick Clarke returned to the Olympia in Paris, the venue of The Rubettes’ first appearance in France in 1974 when Sugar Baby Love topped the French and European charts.

Sugar Baby Love!
Sugar Baby Love!
I didn’t mean to make you blue!
Sugar Baby Love!
Sugar Baby Love!
I didn’t mean to hurt you!

All lovers make
Make the same mistakes
Yes! They do
Yes! All lovers make
Make the same mistakes
As me and you

Sugar Baby Love!
Sugar Baby Love!
I didn’t mean to make you blue!
Sugar Baby Love!
Sugar Baby Love!
I didn’t mean to hurt you!

People take my advice!
If you love someone
Don’t think twice!

Love your baby love!
Sugar Baby Love!
Love her anyway!
Love her everyday!

References:
1. Sugar Baby Love – Wikipedia
2. Sugar Baby Love – Seventies Music

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Ordinary World (1992) – Duran Duran

I always felt I could relate to so many aspects of this song – Ordinary World – both its lyrics and its sound seem to echo something familiar. The song captures the experience of loss – not just losing someone, but the kind of loss that leaves your world so changed, so fractured, that trying to piece it back together becomes a new kind of journey. It’s about navigating the aftermath, finding your footing in a version of life you never planned for, but finding semblance to the Ordinary World which perhaps you had taken for granted.

Two phrases come to mind whenever I hear this song: “The little things… there’s nothing bigger, is there?” and the reminder that Every Passing Minute is Another Chance to Turn it all Around.” These lines (both from the movie Vanilla Sky) speak to the quiet, often overlooked moments that carry the most weight – and to the hope that change (because we are blessed with amazing grace) is still possible, even after everything’s come undone. Ordinary World simply carries a quiet wisdom: that “less is more”. It feels like a pause, a breath.

Ordinary World was released by the English pop rock band Duran Duran. It is from their second self titled album (image inset), known in fan circles as the Wedding Album. The single reached No. 3 on the Billboard Hot 100 and No. 6 in the UK. According to the Duranie web site below: it’s part of a trilogy of “ghost songs” about Simon Le Bon’s friend David Miles who died of a drug overdose in 1986. (The trilogy includes “Do You Believe in Shame?” (1988) and “Out of My Mind” (1997).

Ordinary World came just in the nick of time because by the early 1990s, Duran Duran’s career was in decline following the underwhelming reception of their 1990 album Liberty. Also their drummer departed and bassist John Taylor and keyboardist Nick Rhodes faced personal difficulties, and singer Simon Le Bon considered stepping away from music. Amid these struggles, guitarist Warren Cuccurullo took the lead in revitalising the band, converting his Battersea home into a makeshift studio to provide creative control without the high costs of a traditional studio they used to record all of their albums.

The development of Ordinary World became a turning point, restoring confidence in their musical direction following the uprising of other genres like grunge. It was one of the first ideas they worked on in the studio.
Simon recalls the chorus basically writing itself, and the rest of the song followed in record time.

Once the core of the track was nailed down, the band dove headfirst into the recording process. Under the watchful ear of producer-engineer John Jones, the band was able to push the boundaries, layering sounds, tweaking arrangements, and revisiting ideas until the track crossed the rooftops and run away to become a hit.DuranDuranies.com

Ordinary World remains one of Duran Duran’s most popular songs and, in October 2021, was their second-most streamed song in the UK.

[Verse 1]
Came in from a rainy Thursday on the avenue
Thought I heard you talking softly
I turned on the lights, the TV and the radio
Still, I can’t escape the ghost of you

[Pre-Chorus]
What has happened to it all?
Crazy, some’d say
Where is the life that I recognize?
(Gone away)

[Chorus]
But I won’t cry for yesterday, there’s an ordinary world
Somehow I have to find
And as I try to make my way to the ordinary world
I will learn to survive

[Verse 2]
Passion or coincidence once prompted you to say
“Pride will tear us both apart”
Well now, pride’s gone out the window, ‘cross the rooftops, run away
Left me in the vacuum of my heart

[Pre-Chorus]
What is happening to me?
Crazy, some’d say
Where is my friend when I need you most?
(Gone away)

[Chorus]
But I won’t cry for yesterday, there’s an ordinary world
Somehow I have to find
And as I try to make my way to the ordinary world
I will learn to survive

[Guitar Solo]
Ooh-ooh, ooh-ooh, Ah-uh-huh

[Verse 3]
Papers in the roadside tell of suffering and greed
Fear today, forgot tomorrow
Ooh, here beside the news of holy war and holy need
Ours is just a little sorrowed talk (Just blown away)

[Chorus]
And I don’t cry for yesterday, there’s an ordinary world
Somehow I have to find
And as I try to make my way to the ordinary world
I will learn to survive

[Outro]
Every world is my world (I will learn to survive)
Any world is my world (I will learn to survive)
Any world is my world
Every world is my world

References:
1. Ordinary World (song) – Wikipedia
2. Ordinary World by Duran Duran: The Story Behind the Hit Song – DuranDuranies

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My Favourite Cake (2024) – Maryam Moghaddam and Behtash Sanaeeha (Friday’s Finest)

Esmail Mehrabi and Lily Farhadpour from My Favourite Cake with a photo of Maryam Moghaddam and Behtash Sanaeeha, who were not allowed to leave the country (Berlinale 2024)

The creators, Maryam Moghaddam and Behtash Sanaeeha of My Favourite Cake were charged by the Iranian Government with propaganda, vulgarity and spreading prostitution. They were forbidden from leaving Iran, were under arrest as of February 2025. The red lines they crossed entails their movie showing a woman drinking alcohol, dancing, and not wearing a headscarf in her home. The film was represented by the film’s lead actors at its premiere and film festivals.

I saw this quiet and powerful film at the cinema 2 weeks ago. My Favourite Cake is the second Iranian film to feature here after – A Separation (2011) which currently sits at No. 17 on my Favourite Movies List.
What I enjoy most about watching foreign films is how they transport me to places I might never have the luxury to visit, making me feel as though I’m exploring the sights and soaking up the history, culture, and customs alongside the protagonists – all for the price of a movie ticket. I have come to like films where I can watch other people’s lives. People doing every day things. And when they are set in different cultures especially one as distinct as Iran – even more interesting.

Storyline:
70-year-old Mahin has been widowed for 30 years and her two children live abroad. She is living a lonely life in Tehran. But one day, she decides to join her friends for the afternoon tea and finds a new spark in her heart. She meets someone who makes her feel alive again, and the evening brings unpredictable surprises and memories.

I knew nothing about the plot going into seeing My Favourite Cake and I always prefer it that way as I can immerse myself in each scene without any preconceived notions of where the story might be heading. For instance, I cannot even describe fully here the type of film My Favourite Cake is (apart from ‘romance drama‘) since even that would reveal too much. Any one who has seen this film, will know why I’m being so fastidious even describing the full genre of this movie.

As I alluded to earlier, I was so touched by the beauty in the little things, the dinner with Mahin’s girlfriends, how she spends her day. (I posted at the end of this post a tranquil, but charming little scene which encapsulates the film’s understated elegance). Then, out of the blue, Mahin decides – for the first time in her life – to confront her loneliness and lack of companionship by pursuing her ‘desires’ in a place where women’s rights are severely restricted. So this is what happens:

“Mahin” a lonely, widowed, retired nurse who has lived by herself for many years, happens to overhear a conversation in the government run pensioner’s cafe that points out that taxi driver “Faramarz” (Esmaeel Mehrabi) is also single. She quite quickly determines to track him down and next thing she is in his cab.

The film becomes riveting and tense when Mahin just goes for it! Well you can also guess that things are not going to go to plan either – and we are given a few subtle clues along the way to manage our expectations as this entertainingly mischievous story develops. There’s a dance scene in the film that filled me with such euphoria, I began to clap and bop along in my seat. I think that’s a first for me as a film-goer in the cinema.

As Mahin, (Farhadpour) captivates with a warm, compelling presence, effortlessly drawing in her new companion. A quiet, believable chemistry simmers between them as the bulk of the narrative takes place in her home – where they cautiously navigate the ever-present risk of being discovered by the feared morality police, who could penalise them simply for sharing private time together, despite their age. What makes this film resonate is its subtle yet sharp critique – not only of societal perceptions of aging but also of the enduring gender inequality that sees women granted few freedoms. And yet, at its heart, the film is disarmingly funny, offering up themes of bashfulness, resilience, hope, and self-assurance, all tinged with a sly, dark wit.

My Favourite Cake had its world premiere on 16 February 2024, as part of the 74th Berlin International Film Festival, in competition. The Iranian Government would not permit the directors to attend, so they issued a statement to be read out at the screening by actress Lily Farhadpour, including these words

We have come to believe that it is no longer possible to tell the story of an Iranian woman while obeying strict laws such as the mandatory hijab. Women for whom the red lines prevent the depiction of their true lives, as full human beings. This time, we decided to cross all of the restrictive red lines, and accept the consequences of our choice to paint a real picture of Iranian women – images that have been banned in Iranian cinema ever since the Islamic Revolution

My Favourite Cake is a film made in praise of life. This is a story based on the reality of the everyday lives of middle-class women in Iran, a close look at a woman’s solitude as she enters her golden years. A vision of the reality of women’s lives which has not often been told. It is a story that is contrary to the common image of Iranian women, and similar to the life stories of many lonely people on this planet, about savoring the short, sweet moments in life…

References:
1. My Favourite Cake – IMDB
2. My Favourite Cake – Wikipedia
3. ‘We’re charged with propaganda, vulgarity and spreading prostitution’: the directors of My Favourite Cake – The Guardian

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The Downeaster ‘Alexa’ (1989) – Billy Joel

In “The Downeaster Alexa’”, Billy Joel sings of my beloved Montauk where we vacationed for 34 consecutive summers until Covid hit. Sadly, for various reasons, we have not returned since then. The references in the song to actual places, nautical and otherwise, such as Block Island Sound, Gardiner’s Bay, and Islanders juxtaposed against more mythical or religious lines (“giants out there in the canyon,” “where God only knows,” and “I am trawling Atlantis”) help convey a sense of a life rooted in gritty realism but controlled by larger forces.

– ‘Storm Front‘ at The Elephant’s Trunk

I saw Billy Joel’s Stormfront tour in ’91 in Sydney with my schoolmate Gary. He’s actually the one who drew the caricature of my family – that’s the featured image in my ‘Reflection’ menu. Anyway, Gary was a massive Billy Joel fan. We used to go back and forth over music because while he was all about Billy, I leaned more towards Elton John. I still remember when Elton’s Kiss the Bride came out – Gary would mock me by belting out, “I want to kiss the bridegroom!” A clever comeback, just like his caricature. So yeah, I went to the concert mostly to appease Gary, though I did (and still do) dig a lot of Joel’s music – especially today’s featured track.

I’m not sure how I forgot about ‘The Downeaster ‘Alexa’, but I was happily reunited with it through my friend Nancy’s aptly titled blog post, Storm Front, over at The Elephant’s Trunk.

I’m about to do something I don’t usually do – reblog Nancy’s article below. Given her personal connection to the song and remarkable talent as a writer, I think it’s only fitting to hand over the reins to her on this occasion. She gives the track the justice it truly deserves.

[Verse 1]
Well I’m on the downeaster “Alexa”
And I’m cruising through Block Island Sound
I have charted a course to the Vineyard
But tonight I am Nantucket bound
We took on diesel back in Montauk yesterday
Left this morning from the bell in Gardiner’s Bay
Like all the locals here I’ve had to sell my home
Too proud to leave, I work my fingers to the bone


[Verse 2]
So I could own my downeaster “Alexa”
And I go where the ocean is deep
There are giants out there in the canyons
And a good captain can’t fall asleep
I got bills to pay and children who need clothes
I know there’s fish out there, but where God only knows
They say these waters aren’t what they used to be
But I got people back on land who count on me

[Verse 3]
So if you see my downeaster “Alexa”
And if you work with the rod and the reel
Tell my wife I am trolling Atlantis
And I still have my hands on the wheel

[Bridge]
Yay-o
Yay-o
Yay-o
Yay-yay-o

[Verse 4]
Now I drive my downeaster “Alexa”
More and more miles from shore every year
Since they told me I can’t sell no stripers
And there’s no luck in swordfishing here
I was a bayman like my father was before
Can’t make a living as a bayman anymore
There ain’t much future for a man who works the sea
But there ain’t no island left for islanders like me

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Sweet Jane (1970) – The Velvet Underground

I had Sweet Jane in my collection, but inexplicably rendered it obsolete for use here. Then when I heard it again yesterday while doing chores I made note to make amends. So here we are today with what Rolling Stone ranked No. 335 on its list of the 500 Greatest Songs of All Time. Appearing on the Velvet Underground’s fourth studio album Loaded (1970), Sweet Jane was written by band leader and primary songwriter Lou Reed, who continued to incorporate the piece into live performances after he left the band. There are more versions of this song than you can swing a cat at, including a 1969 early version which Rolling Stone highlighted in their article below. But the version I’ve gone with below is the 2015 – 45th anniversary full length version.

The main riff of Sweet Jane is deceptively simple, but it’s irresistibly groovy, creating a laid-back swagger that anchors the song. But towards the end – the song transforms into a Hey Jude-ish ‘la la la la la la’ when instrumentals coalesce into a wild mesh of hypnotic rhythm. Also throughout, Lou Reed’s signature inimitable voice is unmistakable here. It stretches and bends certain phrases with elongated, almost tongue-in-cheek inflections. There’s humor, weariness, and cool detachment – an effortless charm like a joke you’re in on as a listener.

Lyrically, Sweet Jane drifts through a lucid dreamscape, introducing a cast of characters – each rooted in different epochs and realities. Among them are the singer, who’s part of a rock ’n’ roll band, and a couple: Jack the banker and Jane the clerk. They symbolize the conventional 9-to-5 class of an antiquated society, steeped in tradition and classical music. The singer, in contrast, pleads for recognition of the raw, spontaneous beauty of rock ’n’ roll and the authenticity found in living outside societal norms. But really it becomes less a love letter to rock than a self-aware meditation on identity, routine, and the mythologies we buy into.

The following was extracted from Wikipedia:
In a 2005 interview, former Velvet Underground member Doug Yule stated that the main signature “riff” of the song (as it appears on Loaded) was finalized in the studio just before the tracks were recorded, and it was achieved by Lou Reed’s playing “cranked-up very loud” through a large Sunn amplifier. In addition to recording the bass track, the drums on the recording were performed by Doug Yule because Velvet drummer Maureen Tucker was pregnant at the time and not present during the Loaded sessions.

[Verse 1]
Standin’ on the corner
Suitcase in my hand
Jack is in his corset, Jane is in her vest
And me, I’m in a rock ‘n’ roll band
Huh
Riding in a Stutz Bear Cat, Jim
Ya know, those were different times
Oh, all the poets they studied rules of verse
And those ladies, they rolled their eyes

[Chorus]
Sweet Jane, woah
Sweet Jane, oh oh
Sweet Jane

[Verse 2]
Let me tell ya somethin’, Jack, he is a banker
And Jane, she is a clerk
And both of them save their monies
Hah, and when, when they come home from work
Ooh, sittin’ down by the fire, oh
The radio does play the classical music there, Jim
The March of the Wooden Soldiers
All you protest kids, you can hear Jack say
Get ready

[Verse 3]
Some people, they like to go out dancin’
And other peoples, they have to work, just watch me now
And there’s even some evil mothers
Well, they’re gonna tell you that everything is just dirt
You know that women never really faint
And that villains always blink their eyes, ooh
And that, ya know, children are the only ones who blush
And that life is just to die
But anyone who ever had a heart
Oh, they wouldn’t turn around and break it
And anyone who ever played a part
Oh, they wouldn’t turn around and hate it


[Bridge]
Heavenly wine and roses
Seem to whisper to her when he smiles
Heavenly wine and roses
Seem to whisper to her, hey, when she smiles

References:
1. Hear the Velvet Underground Play an Early Version of ‘Sweet Jane’ – Rolling Stone
2. Sweet Jane – Wikipedia

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31/3/25 – 6/4/25 – Tariffs

news on the march

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

Like I imagine some of you have been doing, I have been watching presentations on the current hot news topic – Donald Trump’s tariffs. There remains opposed reactions to the tariffs which I would like to discuss below:

Two presentations in particular: UnHerd’s – Tariff Wars – What Happens Next and Ben Shapiro’s – Trump’s Tariff War Continues… both spell impending doom and gloom at Trump’s radical implementation of a global net of tariffs which mark the end of the globalisation era which has existed since the early 1990’s and has the world teetering on a 2008 style recession or worse. They seem to disdain the arrogance of Trump putting the whole world in this state of despair by trying to reverse 50 years of trade history and supply chains with the stroke of his pen.
Shapiro, sympathetic to free-market conservatism, suggests that consumers will bear the brunt, costs will rise, and retaliatory tariffs could stifle small businesses already strangled by post-pandemic inflation.
The UnHerd economic ‘experts’ conclude that for Europe, Australia and Canada to avoid recession they should introduce fiscal stimuli and ignore the US on trade and forge new alliances, most notably between themselves and China.

At the other end of the spectrum is the biologist couple – Brett Weinstein and Heather Heying’s latest Darkhorse podcast – There’s a New Tariff In Town. While both admit they are far from ‘experts’ on economics, they apparently welcome Donald Trump’s broad sweeping Tariffs because they mark what could be a significant shift in power away from the high falluting ‘Wallstreet’ crowd towards the overlooked ‘working-class’. So they see the tariffs not as economic suicide, but as a recalibration of national sovereignty and a potential economic renaissance for the U.S. working class. There are said to be about 10 million skilled people in the US that are currently not working, but want to. Their arguments unsurprisingly have an evolutionary logic: systems that depend on global fragility are less adaptive than those with redundancy and local capacity.

So who is right? Could they both be right?
Perhaps. The tariffs could destabilise global markets and inflate prices in the short term – especially if retaliatory measures kick in and inflation worsens, but with long-term cultural and labor recalibration such policies might reanimate the productive core of the U.S. economy, but at what cost to the rest of the World?

That is all. Thank you for reading.

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Posted in News, politics

The Devil’s Been Busy (1990) – Traveling Wilburys

The Devil’s Been Busy might be one of the lesser known Traveling WIlbury tracks, but I’m a big fan of it – just as I am of nearly everything they released. The subject matter is both clever and unsettling. The song puts a a spin on the title phrase, using the devil as a stand-in for all the reckless things humans do – especially to the planet.

The first half points a finger at those dumping toxic waste and poisoning the environment, all while folks above ground carry on playing golf, blissfully unaware of the damage beneath their feet. Then the song shifts gears, turning the lens inward to look at human nature itself – our tendency toward violence, cruelty, and looking the other way. The Devil’s Been Busy is a social critique (how the devil’s work is often done through everyday injustice), but dressed in jangly guitars and Wilbury wit.

The Devil’s Been Busy comes from the group’s second and final studio album Volume 3. Yes, they skipped Volume 2. Jeff Lynne said “That was George’s idea’. – ‘Let’s confuse the buggers‘. After Roy Orbison’s passing, the group gathered at a private house they dubbed “Camp Wilbury“, in Bel Air, Los Angeles. The remaining 4 members adopted new pseudonyms for Vol. 3 – Spike (George Harrison), Clayton (Jeff Lynne), Muddy (Tom Petty) and Boo (Bob Dylan).

Below the studio release (at the end of this post) is a fascinating little ‘official’ piece about the song’s making. Thought I’d seen just about all the George Harrison and Traveling Wilbury videos. Really great stuff here!

[Verse 1, Tom Petty]
While you’re strolling down the fairway
Showing no remorse
Glowing from the poisons
They’ve sprayed on your golf course
While you’re busy sinking birdies
And keeping your scorecard

[Chorus, All]
The devil’s been busy in your backyard

[Verse 2, George Harrison]
Steaming down the highway
With your trucks of toxic waste
Where you gonna hide it
Maybe outer space?
You don’t know what you’re doing
Or what you have to guard

[Chorus, All]
The devil’s been busy in your backyard

[Bridge, Bob Dylan]
Sometimes you think you’re crazy
But you know you’re only mad
Sometimes you’re better off not knowing
How much you’ve been had

[Verse 3, Bob Dylan]
You see your second cousin
Wasted in a fight
You say he had it coming
He couldn’t do it right
You’re in a western movie
Playing the part

[Chorus, All]
The devil’s been busy in your backyard

[Sitar Solo]

[Bridge, Bob Dylan]
Sometimes they say you’re wicked
But you know that can’t be bad
Sometimes you’re better off not knowing
It’ll only make you sad

[Verse 4, Jeff Lynne]
They’re coming down piccadilly
Dripping at the dosh
Arresting Sticky Willy
Clubbing him with their cosh
They just might not have noticed
They’ve been hitting him so hard

[Outro, All]
The devil’s been busy in your backyard
The devil’s been busy in your backyard
The devil’s been busy in your backyard

References:
1. Traveling Wilburys Vol. 3 – Wikipedia

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The Desert Babbler (2013) – Iron & Wine

Today’s featured track The Desert Babbler was recommended to me in my last post on Iron & WineFlightless Bird, American Mouth. Samuel Ervin Beam (born July 26, 1974), better known by his stage name Iron & Wine, is an American singer-songwriter.
Despite the thorny lyrics, the vocals and gorgeous melodies exude a warm and spacious sound. It’s said this album was a shift from the stark acoustic style of Iron & Wine’s earlier work which Sam felt contained an “anxious tension” he wanted to move away from. The Desert Babbler has a lush and soulful, jazz-tinged polish. I found myself getting carried away and humming along to the women’s catchy yet soothing background harmonies.

The following was extracted from the Wikipedia article below:
The Desert Babbler comes from his fifth full-length studio album released in 2013. The album’s title is taken from the lyrics of “Grace for Saints and Ramblers” and the cover (see image inset) is taken from photographer Barbara Crane’s series “Private Views.” The album debuted at No. 26 on Billboard 200.

He has released six studio albums, several EPs and singles, as well as a few download-only releases, which include a live album (a recording of his 2005 Bonnaroo performance). He occasionally tours with a full band. The name Iron & Wine is taken from a dietary supplement named “Beef, Iron & Wine” that he found in a general store while shooting a film.

[Verse 1]
It’s New Year’s Eve
California’s gonna kill you soon
The Barstow boys
Buckeyes in the shadow of the moon

Black houses in the hills and roadside hearts
Dying for a place to fall apart
Who knew that you could learn to live without?
Mother Mary’s lyin’ in your mouth now

[Chorus 1]
Back home, the kitchen’s warm with Christmas wine
And every girl has got an axe to grind
You live to look for heaven, but you’re far
From the hard light tonight

[Verse 2]
So quietly we’ve lost another year
The desert put a babbler in your ear
Mean fireweed and I miss you again
Barstow boys are spit into the wind now

[Chorus 2]
Back home, the hammer always has to fall
Crosses barely hanging on the wall
Someday I know you’ll never leave me
But we’re far from the hard light tonight

References:
1. Iron & Wine – Wikipedia
2. Ghost on Ghost – Wikipedia

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Hymn for the Carnies (2007) – My Friend the Chocolate Cake

The Carnie’s show is in town..
With its neon blinding shining lights
It’s got a one-legged stripper, a drunken clown…

The bloke who works the fancy dodgems
He jumps with grace from car to car

The electricity sparks the flame when the hanging wire touches wire

The view on top this ferris wheel
is the best view in all of town

Hymn for the Carnies is the second song to feature here from My Friend the Chocolate Cake’s sixth studio album Home Improvements released in 2007. A Carnie, also spelt ‘carny’ is an informal term used for a travelling carnival employee.

It is a beautiful song and set to a moving video below with the laughing clowns’ attendant at Circus Oz. You get the sense of how one’s time will be spent as a circus employee. Then suddenly out of the dark, a lady approaches with her child. This song is a nice couplet to Springsteen’s Wild Billy’s Circus Story, but the Cake’s version is a bit of a come down from the ‘live wire’ act and that’s just how it goes.
Anyone who is familiar with my blog will know what a huge fan I am of this Melbourne band and founder David Bridie. They have featured here a bucket load, so I would point you to my numerous posts on them for more information.

The band’s heady compositions swing between celebratory, gypsy-like romps and introspective ballads, with Bridie’s lyrics and voice often the icing on the Cake. His voice in Hymn for the Carnies carries a pensive and evocative tone, weaving nostalgia as he brings the circus to life. The song immerses the listener in the atmosphere and characters of the carnival. It’s one of those songs I never tire of hearing. It’s unfortunate that the lyrics are not available for this song.

My Friend the Chocolate Cake were formed initially as an acoustic side project in 1989 by David Bridie on vocals, piano, harmonium and keyboards and Helen Mountfort on cello and backing vocals. Bridie and Mountfort were members of an ambient, world music ensemble Not Drowning, Waving who have featured here as well. My Friend the Chocolate Cake took their name from a song title by an obscure Sydney band, Ya Ya Choral. Bridie admitted that one reason they chose an all-acoustic act was so they did not have to carry around amplifiers.

References:
1. Sydney Morning Herald – My Friend the Chocolate Cake
2. My Friend The Chocolate Cake – Wikipedia

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Posted in Music

Testament of Youth (2014) – James Kent (Friday’s Finest)

Winifred Holtby: All of us are surrounded by ghosts. Now we need to learn how to live with them.

Storyline:
Testament of Youth (2014) is based on the memoir of Vera Brittain, a young woman who defies societal expectations to attend Oxford University just as World War I breaks out. As the war engulfs Europe, Vera’s life is upended when the men she loves – her brother, fiancé, and closest friends – enlist to fight.

Testament of Youth (2014), which I have now seen twice, is a poignant and beautifully shot film that explores not only the harrowing toll of war but also the often-overlooked suffering of those left behind. While many war films focus on the chaos of the battlefield and the physical trauma endured by soldiers, Testament of Youth offers a portrait of war through the eyes of those who bear its emotional burdens.
Through the journey of Vera Brittain (based on her 1933 memoir which became an instant bestseller and was heralded as the voice of a generation), we witness the anguish of families, lovers, and friends who wait in hope and fear, as well as the quiet heroism of those contributing to the war effort, such as volunteer nurses. The devastation of war extends far beyond the trenches, a reality that Testament of Youth conveys with poetic beauty and profound emotional depth.

Vera Brittain: Please don’t keep things back from me, Roland, with an idea of sparing my feelings. I shall never be afraid to confront the real. The imagined holds far greater terror for me.

As this quote suggests, Testament of Youth portrays Vera Brittain’s audacious quest for authenticity and truth amid the chaos of war. The film stands as a powerful testament to her relentless determination to confront the painful reality of conflict, refusing to view the war through a sanitized or sentimental lens.
A pivotal moment in Testament of Youth occurs when Vera becomes disillusioned, convinced that the comforting narratives she has been told are meant to ease her suffering rather than reflect the harsh reality. Her determination to cut through the veil of convenient falsehoods and confront the unspoken truth of her profound loss is both brazen and deeply heartbreaking. As viewers, we come to appreciate that what is presented to us will neither be glossed over nor softened for comfort.

I would like to highlight four performances I was taken by, and readers may be familiar with two of the main protagonists, namely Alicia Vikander and Taron Egerton. Alicia, who you may remember from her breakout performance as the A.I doll in Ex Machina appears in nearly every scene here as Vera Brittain. She more than aptly carries this film on her youthful shoulders as the appealing and intellectual Vera. Taron Egerton who plays Vera’s brother Edward, who most will know from his role as Elton John in Rocketman is exceptionally good here in his film debut. He’s instantly likeable and his bond with his sister is so strong and and her world is torn apart when he signs up to fight. In fact I didn’t even recognise Taron until researching this movie: he’s almost chameleon as he envelops a role as he did here here and as Eddie in Eddie the Eagle.
The two other standouts in more minor roles:
Colin Morgan plays Victor Richardson who is in love with Vera (unreciprocated) and even subterfuges it with a made-up love interest so as Vera is not burdened by his ‘real-love’ for her.
Alexandra Roach as Winifred Holtby, another student at the college, helps Vera cope with her trauma.

References:
1. Testament of Youth (film) – Wikipedia
2. Testament of Youth – Wikipedia

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Posted in Movies and TV

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