Talk About Love (1996) – My Friend the Chocolate Cake

Anyone familiar with my blog will know what a huge fan I am of David Bridie (far left above image) and My Friend the Chocolate Cake. I first came across Bridie’s music when he sang with legendary aboriginal singer Archie Roach in Melbourne back in the early 2000s. I went on to see him many times solo and with his band My Friend the Chocolate Cake (MFTCC). I even got to talk to him a few times during breaks between sets and album signings, which was a huge delight. I now consider him, hands down, my favourite Australian singer-songwriter.

Talk About Love is the 9th song (not to mention another 9 songs from Bridie as a solo artist) to be presented here by the Australian chamber pop group after their previous entry More Heart Than Me. The single is from their 1996 album Good Luck which peaked at No. 44 on the Australian charts and won the ARIA Award for Best Adult Contemporary Album. Talk About Love is a humble acoustic ballad which paints vivid imagery and contains themes of devotion and companionship. It was written by the group’s founder David Bridie and features the band’s characteristic blend of piano, violin and cello.

The following was extracted from Wikipedia:
After the release of the album the group played a sell-out show at Edinburgh Festival in Scotland and toured Europe. They followed with a live album, Live at the National Theatre, in December 1997 where they also performed today’s featured track – Talk About Love.

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. In 1989, Bridie had taken a holiday to New Zealand and had written “a few more breezy compositions” that did not fit into the style of not drowning, waving. Upon return to Melbourne, Mountford joined his project with her own writing. 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.

The moon falls on the railway yard
We walk together arm and arm
Faith and blind devotion
Come glide upon the rusted edge
Never question straight ahead
Right out in to the darkness of the hours that life can
Bring
I’ll stand beside you hold you close
When you’re in need of comfort most
Especially when you make no sense

This is what we mean
When we talk about love
This is what we mean
When we talk about love

I’ve found myself a Hinterland
It’s perfect for a short time
I think you’ll find it likeable
Please wait your hurry
Not too fast
Just hold out while the moment lasts
I know I used to wander
But I promise you that I’ll stay
And if you make some strange mistake
Fall down hard and break your neck
I’ll hang in here just right beside you

This is what we mean
When we talk about love

References:
1. My Friend the Chocolate Cake – Wikipedia

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Maybe (1980) – Thom Pace

We are following our trip down nostalgia lane with the classic television-show theme song Maybe by Thom Pace. I mentioned in yesterday’s article about how John Denver’s Country Roads and today’s featured track conjured memories of childhood and nature. To me Maybe captured the theme and naturalistic tone of its series perhaps better than any other. I’m referring to The Life and Times of Grizzly Adams, which despite only running for two seasons in the late 1970s, I sure as heck found infectious viewing as a youngster.

Maybe, the theme song, which I assumed I had already written about; came with the chorus at the beginning and a much better sampling at the end of the episodes. It’s a wonderfully conceived song with beautiful lyrics and melody that I have never grown tired of listening to. It’s tailor-made for a show about a recluse’s profound relationship with nature, including his kinship with a gentle grizzly bear named Ben, although ironically it wasn’t the inspiration for the song as you will read below.

Most of the following was extracted from the reference below:

The show (and the feature-film that launched it) starred first-time lead-actor, Dan Haggerty, a former bodybuilder and stuntman, whose unique look and background as an animal-handler won him the title role of Grizzly Adams, a man who fled to the mountain wilderness in the mid 1800s after being accused a murder he didn’t commit. The show was very family-friendly, with heavy emphasis on themes like compassion, kindness, and gratitude. Plus, it was chock-full of cool animals, and amusing exchanges between mountain-man trader “Mad Jack” (Denver Pyle, aka “Uncle Jesse” from The Dukes of Hazzard) and his notoriously stubborn mule, “Number Seven”.

Deep inside the forest
Is a door into another land
Here is our life and home
We are staying, here forever
In the beauty of this place all alone
We keep on hopi-in’

Maybe
There’s a world where we don’t have to run
And maybe
There’s a time we’ll call our own
Livin’ free in harmony and majesty
Take me ho-ome
Take me home

Walkin’ through the land
Where every living thing is beautiful
Why does it have to end
We are calling, oh so sadly
On the whispers of the wind
As we send a dying message

The man behind the tune is Thom Pace, a singer-songwriter from Pocatello, Idaho. Under the Capitol Records label in 1980, he released “Maybe” on a full-length album along with more of his work. As a radio single, the song found international, award-winning success. Thom Pace revealed in an interview from the reference below that he originally wrote the song for a movie called “The Snow Tigers” about two Siberian Tigers who had lost their home due to dwindling forests. He decided to write a song from their point of view about a place where they would be safe and free again. The producer liked the song, but he decided to go full classical instrumental music, so he did not use the song. Chuck Sellier, the producer of Grizzly Adams, heard it a little later and thought that it would be a good song for the ending of the movie.  

Later when I was playing in a club in Alaska, my manager called and said that Sun Classic Pictures wanted to use “Maybe” for the new Grizzly Adams television series. After much discussion, they used it and it worked well for the opening each week. What is not generally known is that it has three verses instead of two, and the only recording with all three verses is a live Reggae version on iTunes that Thom recorded in 2010.

From Wikipedia below:
Another version from the theme from an album that Pace recorded and released during the 1970s, was released as a single in Europe. Maybe went to number one in Germany and stayed there for nine weeks. Pace received the “Goldene Europa” Award, Germany’s version of the Grammy Award for Best Song of 1980. The song also reached No. 14 in the UK Singles Chart  and No. 23 in the Australian Singles Chart.

References:
1. Interview: Thom Pace, Singer/Writer of the “Grizzly Adams” Theme Song – John A. Daly
2. Thom Pace – Wikipedia

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Take Me Home, Country Roads (1971) – John Denver

My son Jesus Mateo and I just got back from a four day holiday in Melgar, Tolima – jungle country, a four hour trip from where we live in Bogotá, Colombia. I’ve sent a video below of a ride we enjoyed at a park called Piscilago. Just a week earlier, my daughter Katherine Rose and I had also experienced this ride, which I presented here.

These trips lead us neatly into today’s featured track Take Me Home, Country Roads – one of the most nostalgic songs I have heard about childhood and nature. It’s one of the first songs I can recall hearing, and it remains dear to my heart – just as I imagine it does for many of you reading this. It also conjures memories of seeing the 70’s show The Life and Times of Grizzly Adams and its theme song Maybe.

[Verse 1]
Almost Heaven, West Virginia
Blue Ridge Mountains, Shenandoah River
Life is old there, older than the trees
Younger than the mountains, growing like a breeze

[Chorus]
Country roads, take me home
To the place I belong
West Virginia, mountain mama
Take me home, country roads

[Verse 2]
All my memories gather ’round her
Miner’s lady, stranger to blue water
Dark and dusty, painted on the sky
Misty taste of moonshine, teardrop in my eye

[Chorus]
Country roads, take me home
To the place I belong
West Virginia, mountain mama
Take me home, country roads

[Bridge]
I hear her voice in the morning hour, she calls me
The radio reminds me of my home far away
Driving down the road, I get a feeling
That I should have been home yesterday, yesterday

Most of the following was extracted from the Wikipedia reference below:

Take Me Home, Country Roads may well be one of the most popular songs revisited over the years on contemporary music radio stations. It was written by Bill Danoff, Taffy Nivert and John Denver and released as a single on April 12, 1971, peaking at number two on the Billboard charts. It is of course one of John Denver’s most popular songs and has continued to sell, with over 1.8 million digital copies sold in the United States alone. In 1998, the 1971 recording by John Denver was inducted into the Grammy Hall of Fame and considered a symbol of West Virginia.

Inspiration for the title line had come while Taffy Nivert and Bill Danoff, who were married, were driving along Clopper Road in Montgomery County, Maryland, to a gathering of Nivert’s family in Gaithersburg, with Nivert behind the wheel while Danoff played his guitar. “I just started thinking, country roads, I started thinking of me growing up in western New England and going on all these small roads“, Danoff said. “It didn’t have anything to do with Maryland or anyplace.”

To Danoff, the lyric “[t]he radio reminds me of my home far away” in the bridge is quintessentially West Virginian, an allusion to when he listened to the program Saturday Night Jamboree, broadcast from Wheeling, West Virginia, on WWVA at his home in Springfield, Massachusetts, during his childhood in the 1950s.

Danoff and Nivert ran through what they had of the song they had been working on for about a month, planning to sell to Johnny Cash. Denver decided he had to have it when he returned with the couple to their apartment for an impromptu jam (after a post Christmas reopening night at The Cellar Door in Washington, D.C) which prompted them to abandon plans for the sale. The verses and chorus were still missing a bridge, so the three of them went about finishing…When they finished, on the morning of Wednesday, December 30, 1970, Denver announced that the song had to go on his next album.

References:
1. Take Me Home, Country Roads – Wikipedia

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20/1/25 – 26/1/25 – Colombia, Australian Open & Blackouts

news on the march

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

Yesterday, my adopted home country Colombia had the scariest rollercoaster ride because of a diplomatic entanglement with the United States. Yesterday morning the Colombian President Gustavo Petro (a committed socialist and ex guerilla warfighter) barred two US military deportation flights (of detained Colombian criminals and undocumented illegal migrants) from landing in Colombia. As a result the new US leadership under Donald Trump threatened Colombia with 25% Tariffs on all Colombian goods (as well as revoking Visas of officials and dignatarias aligned with the Petro Government) and in retaliation Petro did the same on US products. The effect such economic penalties would have on the already fragile Colombian economy would be nothing short of devastating and the run-off effects on security and people’s livelihoods paralleling the Venezuelan crises under the Socialist Dictatorship of revolutionary Hugo Chavez and his successor Nicolás Maduro.
After my troubled sleep last night (due to all this commotion), I woke up to the wonderful news that the Colombian Government agreed to accept – without restrictions the deported illegal Colombian aliens and Trump’s threat has been rescinded or put on hold. More information can be found in the BBC news article here.

‘You pay my bills’ – Collins reacts to hecklers
News article at BBC Sport

I am an unashamed Australian Sports-nut… so when the Australian Open rolls around just after the Christmas and New Year’s festivities I lock into tennis-mode despite the unpleasant start-times due to the time-zone differences (16 hours to be exact) between my native and adopted country. The Open is always embroiled in controversy and this year was no different. One of my favourite moments from the event has to be American Danielle Collins reactions to the heckles and booing of the crowd during and after her match against Australian home hope Destanee Aiava. I must admit I am left disappointed and somewhat embarrassed by the unruly behaviour of large sectors of the Australian crowd including how the GOAT (at least statistically speaking) Novak Djokovic was also boo’d off after retiring injured. On a side note: What he must think of Australia after this and being prohibited from competing in 2021 (for being an unvaccinated traveller) and detained in quarantine under Australian Government’s draconian COVID measures is anyone’s guess.

Collins is my new hero. This is what she said during the post-match interview:

Will blackouts come to Britain?
Video interview hosted by UnHerd

Did the UK only narrowly avoid a blackout last week? Freddie Sayers is joined by energy analyst Kathryn Porter to break down the National Grid numbers and find out how Net Zero might cause blackouts by 2030.

I am a frequent UnHerd viewer and this recent video interview about the state of Electricity in Britain was surprisingly intriguing and educational. I never knew how a Country’s electricity system and grids work or the effect of renewable ‘clean’ energy on its correct functioning. My fear is of a disaster that will ultimately affect mostly working class people. I like how one astute viewer put it, ‘Net Zero means zero heating, zero lighting, zero industry, zero transport, zero shops‘. All in all, the video was a steep learning curve as Freddy Sayers forewarned but a rewarding one at that.

Before I sign-off, I would like to inform you I will be away from the blogger-sphere from tomorrow until Saturday due to a vacation my son and I will be taking to Jungle country in Melgar, Colombia. I recently posted about the same trip I took with my daughter last week. In the meantime I wish y’all a very pleasant week.

That is all. Thank you for reading.

news on the march the end

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Posted in News, politics, Sport and Adventure

Take All of Me (2004) – Hillsong

Take All of Me embodies everything I cherish about Christian music – a melody that flows gently like a river, weaving through deeply contemplative lyrics and a choral backing steeped in pure worship. It builds steadily, gaining momentum with Marty Sampson’s rich tone and passion of voice, until it surges into the cascades and eventually the thundering instrumental roar of a waterfall. Take All of Me is the fifth song to be presented so far from one of my all-time favourite Australian album’s For All You’ve Done under the direction of Darlene Zschech and presented by the charismatic pentecostal church Hillsong. Today’s featured song and Evermore are two of the most uplifting and high spirited songs from the album.

Hillsong has recently been in the news for all the wrong reasons; even here in Colombia I saw a documentary recently about a series of scandals including allegations of sexual abuse going back nearly five decades, marital infidelity and accusations of bigotry among its leadership. Leaving all that aside (if one can) I still treasure their music output in this epoch – many calling it the golden era of Hillsong with so many enriching tracks.

After I was baptised at the Mornington Baptist Church in South East Melbourne, I couldn’t hear enough of For All You’ve Done. I now consider myself more of an agnostic-christian who holds dear ‘The Logos‘, archetypes, meta-heroes and spiritual truths of the bible, but For All You’ve Done still remains my Desert Island Christian album. It’s just a spectacular ensemble of modern Christian music that doesn’t grow old to my musical senses. Also, the album was a revelation (excuse the pun) in Australian music at the time of its release, since it was the first non secular album to reach number 1 on the mainstream music charts. It was recorded in the Spring of 2004 at The Sydney Entertainment Centre with a 500-voice choir and a house packed with thousands of worshipers. I wore out the dvd – that’s for sure!

[Verse 1]
You broke the night like the sun
And healed my heart
With Your great love
Any trouble I couldn’t bear
You lifted me upon Your shoulders

[Pre-Chorus]
Love that’s stronger
Love that covers sin
And takes the weight of the world

[Chorus]
I love You
All of my hope is in You
Jesus Christ take my life
Take all of me

[Verse 2]
You stand on mountain tops with me
With You I walk through the valleys
You gave Your only Son for me
Your grace is all I rely on

[Bridge]
I love You so
And I give up my life to say
I need You so
My everything

The Fader web site states: Hillsong is one of the largest evangelical Christian churches in the world. What began as a small pentecostal church in a suburb of Sydney now holds services on all six habitable continents, with 30 locations and more than 80 affiliated campuses. More than 100,000 people are estimated to attend Hillsong church services every week, including Justin Bieber, Selena Gomez, Nick Jonas, and the Jenner sisters. According to the church, for every person attending in person three more watch online.

References:
1. For All You’ve Done – Wikipedia
2. Hillsong: The Celebrity Megachurch’s Bombshell Scandals and Controversies Through the Years – People

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Tabaco y Chanel (2000) – Bacilos

Tabaco and Chanel inaugurates all songs (approximately 200) starting with ‘T’ in the alphabetical listing of the music library project.

I don’t know how the smell of tobacco conjures sweet romantic memories of the smell of someone’s skin, but it does in the case of the Latin-American Miami based group Bacilos. And if that wasn’t enough to get the love juices flowing, the group named themselves after a literal translation of bacilli, which is a bacteria widely found in soil and water where some forms are harmful to humans, plants, or other organisms. It is also a play on the Spanish language word “vacilón” meaning a fun, good time.

Tabaco y Chanel is a tender acoustic number with influences from Cuban folk music. I like the melody, percussion and strings in this. Their music has been described as a “fusion of Caribbean rhythms, South American folklore, pop melodies and rock aggressiveness“.
The band was created in 1997 by three students from the University of Miami. Jorge Villamizar – a Colombian singer and guitarist, formed the band with fellow students André Lopes, a Brazilian bassist, and José Javier Freire, a Puerto Rican percussionist. They first played at student bars, parties, and on campus before expanding to small venues in Miami and Miami Beach. 

In early 2000, Bacilos signed with Warner Music Group and in May 2000, they released the self-titled album, Bacilos. It was nominated for two Latin Grammy Awards and received gold certification in Colombia. The single Tabaco Y Chanel was nominated for a Latin Grammy Award. They have released 7 albums and 2 EPs. Their album Caraluna (2002) won the 2003 Grammy Award for Best Latin Pop Album.

Below is a crude English translation of the lyrics:

[Verse I]
A smell of tobacco and Chanel
Reminds me of the smell of her skin
A mix of honey and coffee
Reminds me of the taste of her kisses
The color of the end of the night
Asks me where I ended up
Where are you?
You only live this once
Where did you end up? Where are you?

[Chorus]
A smell of tobacco and Chanel
And a mix of honey and coffee
They ask me about her (her)
They ask me about her
The stars ask me too
They demand that I come back for her
Oh, come back for her (her)
Oh, come back for her

[Verse II]
A rose that didn’t bloom
But time doesn’t wither it
A promised flower, a love that wasn’t
But that’s still alive
And again the color of the end, of the end of the night
It asks me where I went
That this is only lived once
Where did you go? Where are you?

[Bridge]
But it was the same stars
That one day – marked my hands
And took away the flower, that flower of my life
Of my life

References:
1. Bacilos – Wikipedia

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Dune (2021) – Denis Villeneuve (Friday’s Finest)

I haven’t been as floored or thoroughly transported by a Science Fiction / Fantasy film series since George Lucas’ Star Wars and Peter Jackson’s Lord of the Rings. You could even say the Dune films are a mixture between the aforementioned adventure tales in the sense you follow individuals in a grand and complex world. My Friday’s Finest segment is usually dedicated to low budget, classic, foreign or independent films, but such is my adoration of Denis Villeneuve’s Dune and Dune 2, I felt it incumbent on me to dedicate an article to this epic saga.

IMDB Storyline:
A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence-a commodity capable of unlocking humanity’s greatest potential-only those who can conquer their fear will survive

Allow me to digress a moment. The best forms of art – the ones that resonate with me deeply over the years – often tend to be an ‘acquired taste.’ Whether in cinema or music, they challenge me as much as they reflect the artist’s effort to create and deliver them. This dynamic brings me to Denis Villeneuve’s Dune films, which epitomise this interplay of complexity and magnificence. These movies take their audience seriously and do not simply trap them into a cinematic odyssey but also tackles the storyline critically.

For first-time viewers, particularly those unfamiliar with Frank Herbert’s 1965 novel, the plot and intricate world-building of Dune can feel overwhelming. When I first watched Dune: Part 1 in Spanish, my second language, I left the cinema disoriented and unsure of what I had just experienced. It wasn’t until I saw Dune: Part 2 in the cinema and by reading detailed summaries of the first film as a precursor (this time in my native tongue) that I began to fully engage with the narrative and the worlds it presented.

Interestingly, Dune: Part 2 felt more accessible and allowed me to immerse myself completely. You can read more about Dune 2 in my fellow blogger friend’s review of the film – Awe Strikes Back in Dune 2 – Reely Bernie. After two additional cinema viewings, I revisited Dune: Part 1 when it aired on cable TV, and my appreciation for it grew exponentially with each rewatch. By then, I found myself as captivated by the first instalment as I had been by its sequel. Each scene feels necessary, although the film is mostly about setting the stage until the last third of the film. These films moreover, much like the best art, demand patience and effort – but the rewards are undeniably worth it.

The protagonist of the films is Paul Atreides played by Timothée Chalamet whose name has appeared here before but in connection with another film – the recent Bob Dylan biopic A Complete Unknown. This movie which received 8 nominations for the 2025 Academy awards will not premiere in my adopted country Colombia, until the 20th of February. But, better late than never as they say. I found Timothée Chalamet’s acting in these two Dune films nothing short of alluring and radiant so of course I cannot wait to see him in A Complete Unknown which by all’n sundry has been lauded as ‘great’.

The visuals in Dune: Part 1, combined with its hauntingly beautiful sound and music, create an almost otherworldly experience. With each rewatch, I found myself getting goosebumps, marvelling at how every scene felt like it had been meticulously crafted to resemble the canvas of a master fantasy painter. The cinematography captures not just the grandeur of the desert landscapes but also the intricate interplay of light, shadow, and scale, immersing the viewer in this vast world.

I do think that over time these movies will be considered masterpieces, but it will take the cinema world a while to catch up and recognise its excellence – just like it did for me. I count myself fortunate I had the time to invest in Dune unlike what most people can manage in their busy lives. It goes without saying, I cannot recommend these films anymore highly. To elaborate even further, I think the Dune movies will win over lots of Star Wars fans, who were disappointed in the Disney Star Wars tripe in recent years. Unlike these feeble turn-outs, Dune is way more mature and has actually deep lore and captivating characters as do the original Star Wars movies.

Below, I have forwarded two scenes from the Dune 1 film: firstly the weapons training of Paul Atreides with Gurney and secondly the ‘pain test’ Paul undergoes by the reverend mother.

References:
1. Dune (2021) – Wikipedia
2. Dune – IMDB

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Posted in Movies and TV

It Ain’t Me Babe (1964) – Bob Dylan

I like this photo of Bob. You know that standard Elizabethan image of Shakespeare we all see (with the large lace collar which encircles his neck – called a ‘ruff’), well I could imagine something like the above being the standard Bob image in 500 years time. He looks like he is on a mission, a crusade of sorts; A nutty young professor where the ghost of electricity howls in the bones of his face.

Today’s featured song It Ain’t Me Babe which became a hit for Johnny Cash and June Carter is a natural companion piece to another Dylan song presented here last year – Don’t Think Twice, It’s All Right. Both are viewed as ‘breakup’ songs where Dylan undercuts the sadness with clever, almost flippant lines that reveal a wry sense of humor. On a side note, you can compare the It Ain’t Me Babe Scene from A Complete Unknown (the recent Dylan biopic) to the Real Bob Dylan & Joan Baez Performance at the Newport Folk Festival here.

In those characters’ key scene together they take the stage at the 1964 Newport Folk Festival and sing “It Ain’t Me Babe,” a Dylan song that Baez also recorded. Their rendition conveys the depth of their romantic and artistic connection not just to the audience, but also to Dylan’s girlfriend, played by Elle Fanning, watching just offstage.

Open Culture

It Ain’t Me Babe is the final track from Dylan’s 1964 album Another Side of Bob Dylan. It embodies the changes to his style that he had made since his previous album, the same year’s The Times They Are a-Changin’. Rather than the sociopolitical lyrics found in his work up to this point, the album contained more traditional love songs, with only a few concessions to the protest song style popular among folk musicians and audiences at the time.

The following was extracted from the reference below:
Dylan’s biographers generally agree that the song owes its inspiration to his former girlfriend Suze Rotolo. He reportedly began writing the song during his visit to Italy in 1963 while searching for Rotolo, who was studying there.

Clinton Heylin reports that a Times reporter at a May 1964 Royal Festival Hall concert where Dylan first played “It Ain’t Me” took the chorus “no, no, no” as a parody of the Beatles’ “yeah, yeah, yeah” in “She Loves You“.

[Verse 1]
Go away from my window
Leave at your own chosen speed
I’m not the one you want, babe
I’m not the one you need
You say you’re looking for someone
Who’s never weak but always strong
To protect you and defend you
Whether you are right or wrong
Someone to open each and every door

[Refrain]
But it ain’t me, babe
No, no, no, it ain’t me, babe
It ain’t me you’re looking for, babe

[Verse 2]
Go lightly from the ledge, babe
Go lightly on the ground
I’m not the one you want, babe
I will only let you down
You say you’re looking for someone
Who will promise never to part
Someone to close his eyes for you
Someone to close his heart
Someone who will die for you and more

[Refrain]

[Verse 3]
Go melt back in the night
Everything inside is made of stone
There’s nothing in here moving
And anyway I’m not alone
You say you’re looking for someone
Who’ll pick you up each time you fall
To gather flowers constantly
And to come each time you call
A lover for your life and nothing more

[Refrain]

References:
1. It Ain’t Me Babe – Wikipedia

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It’s In The Rain (2005) – Enya

Please excuse my recent hiatus from WordPress, but I went on an impromptu vacation for four days with my daughter Katherine Rose to Melgar, Tolima – jungle country, not too far from here – Bogotá, Colombia. Oh and also forgive my French in the video below. I was doing a Nathy Peluso voice impersonation. ;-P

I heard today’s featured song at the gym last week at the end of ‘Integral’ class. I knew it was Enya, but I wanted to know the title which the Instructor kindly showed me. I know Enya is not everyone’s cup of tea, but given the right moment like in the warm down of last week’s class, almost nothing surpasses the experience at least to my musical senses. It’s in the Rain is the fifth song to be presented here from Enya after her previous entry – Only Time in November, 2023. The song is the second European single and the third track from her sixth studio album Amarantine (2005). Enya performed the song at the 2006 World Music Awards.

The following was extracted from the second Wikipedia reference below:
Amarantine was recorded in Ireland with Enya’s longtime recording partners, arranger and producer Nicky Ryan and his wife, lyricist Roma Ryan. It is her first album not to include a song in Irish and her first to include songs sung in Japanese and Loxian, a fictional language created by Roma. Amarantine received mixed reviews from critics, but it was a commercial success and reached No. 6 on the Billboard in the United States, where it sold one million copies in its first month of release, and No. 8 on the UK Albums Chart. In 2007, the album won Enya her fourth Grammy Award for Best New Age Album.

[Verse 1]
Every time the rain comes down
Close my eyes and listen
I can hear the lonesome sound
Of the sky as it cries

[Chorus]
Listen to the rain
Here it comes again
Hear it in the rain

[Verse 2]
Feel the touch of tears that fall
They won’t fall forever
In the way the day will flow
All things come, all things go

[Verse 3]
Late at night I drift away
I can hear you calling
And my name is in the rain
Leaves on trees whispering
Deep blue sea’s mysteries

[Interlude]

[Verse 4]
Even when this moment ends
Can’t let, go this feeling
Everything will come again
In the sound, falling down
Of the sky as it cries
Hear my name in the rain

References:
1. It’s in the Rain – Wikipedia
2. Amarantine (album) – Wikipedia

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Posted in Music

The Book Thief (2013) –  Brian Percival (Friday’s Finest)

The Book Thief is a rare kind of film for its day. It gleams like the sun, glistens like rays on the surface of water – for here is a dark tale that lights up the very soul.

The Book Thief is the first movie article from my Friday’s Finest segment to appear here in 2025 and it couldn’t be a more apt one to begin with. During the Christmas Holidays just past, my children and I saw The Book Thief twice and we adored it the same both times. It’s one of those movies that as a parent you feel blessed to be able to share with your children, such is its beauty – steeped in historical context of an important time in 20th Century history, specifically the Nazi era.

Storyline:
The film is about a young girl living with her adoptive German family during the Nazi era. Taught to read by her kind-hearted foster father, the girl begins “borrowing” books and sharing them with the Jewish refugee being sheltered by her foster parents in their home. The film features a musical score by Oscar-winning composer John Williams.

The scenery is both breathtaking and captivating. One feels transported, yet insulated from the realities of a terrible war in a terrible time by the endearingly human performances of the actors and the depth they lent to their characters. There are few more enriching and ‘significant’ family movies I have seen. By the end I was a blubbering mess.

The young actress Marie-Sophie Nélisse (see left) was engrossing as the protagonist. The movie is largely seen through her eyes and she convinces over a full range of emotions. I was perplexed during the viewing – how I hadn’t seen her in anything else, because she’s going to be a superstar; and low and behold just 2 weeks ago I saw her in a fantastic Canadian French-language drama film called Monsieur Lazhar which I will write about in the coming weeks.
Geoffrey Rush, although portrayed a “Disney Dad” as some reviewers suggested; was inspirational and perfectly cast to my mind. He manages to convey the emotions of a man living with fear, yet playing it down for the sake of his young adopted charge. ‘Death‘ (as the narrator) tells the story, which makes the severity and grimness of their predicament all the more compelling.

Films of The Book Thief’s quality have become rare these days and are often overlooked or tossed to their side by cynical critics (49% on RT) and dopamine junkies hellbent on their next Hollywood comic book action blockbuster fix. Films like this (from the producers of the Life of Pi) remind us all of our humanity. The film is rather traditional and almost doesn’t fit in with the rest of today’s movies (as aforementioned), but seems more aligned with the older classics.

References:
1. The Book Thief (Film) – Wikipedia
2. The Book Thief (2003) – Wikipedia

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Posted in Movies and TV

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