The Serbian twins Alex and Jo are back again, this time serenading us with their beautiful version of the Christmas classic ‘I’ll Be Home For Christmas‘. This is their fifth song cover to be presented here after there previous entry – Dream by Priscilla Ahn. I first heard them sing Christina Perri’s Back in Time which astounded me. I’ll Be Home For Christmas is the second song in my Christmas Countdownof 10 favourite Christmas songs and hymns (shared in no particular order) which will carry us right up to Christmas Eve.
The following was extracted from the Wikipedia page below: “I’ll Be Home for Christmas” was written by the lyricist Kim Gannon and composer Walter Kent and recorded in 1943 by Bing Crosby, who scored a top ten hit with the song. Originally written to honor soldiers overseas who longed to be home at Christmas time, “I’ll Be Home for Christmas” has since gone on to become a Christmas standard.
The song is sung from the point of view of a soldier stationed overseas during World War II, writing a letter to his family. In the message, he tells his family he will be coming home and to prepare the holiday for him, and requests snow, mistletoe, and presents “on” the tree. The song ends on a melancholy note, with the soldier saying, “I’ll be home for Christmas, if only in my dreams“. The flip side of the original recording (Decca 18570B) was “Danny Boy.”
[Verse 1] I’ll be home for Christmas You can count on me Please have snow and mistletoe And presents on the tree
[Verse 2] Christmas Eve will find me Where the lovelight gleams I’ll be home for Christmas If only in my dreams
Kicking off my Christmas Countdown of 10 favourite Christmas songs and hymns (shared in no particular order), I’m delighted to present Handel’s magnificent “Hallelujah Chorus” from Messiah. This festive journey will carry us right up to Christmas Eve.
Hallelujah has become a centrepiece of Christmas celebrations, even though Messiah was originally intended for the Lenten season. Its jubilant music, soaring choral harmonies, and triumphant message have led to its association with the holiday. There are two versions I have forwarded at the bottom of this post:
– The first one is a ‘Christmas Food Court Flash Mob‘ where on Nov.13 2010 ordinary folk were eating lunch in a bustling food court decorated for the holiday season, (situated in Seaway Mall near Niagara Falls) when all of a sudden an alto in blue jeans stands up with a cellphone to her ear: “Hallelujah,” she sings, kicking off the famous chorus of Handel’s Messiah.
– The second is a version from last year’s Melbourne ‘Carol’s by Candlelight’. This event is televised every Christmas Eve in Australia. A lot of families tune into it after enjoying their Christmas Eve dinner and letting off Christmas Crackers (Bonbons).
The Messiah by George Frideric Handel is an English-language oratorio which premiered in Dublin on 13 April 1742. In case you were wondering, an oratorio is a grand musical composition designed for orchestra, choir, and soloists. Unlike opera, which is a form of musical theater, an oratorio is purely a concert piece.
The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. Jennens’s text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only “scene” taken from the Gospels. In Part II, Handel concentrates on the Passion of Jesus and ends with the Hallelujah chorus. In Part III he covers Paul’s teachings on the resurrection of the dead and Christ’s glorification in heaven.
My favourite Latina voice is back, this time with Supe Que Me Amabas (Eng. I Knew You Loved Me). You know when you have made it as a Mexican music artist, when people busk your songs on the streets of Bogota, Colombia which they did with Marcela’s songs outside my home during the Pandemic. I still hear people singing them in public here from time to time. I don’t think there is a better compliment to an artist than that, certainly not in these neck of the woods. Supe Que Me Amabas is the sixth song to be presented here so far from Marcela Gandara, the Mexican singer-songwriter of Christian music after her previous entry Pensaba en Ti (Eng. Thought of You).
Supe Que Me Amabas is the first song off Marcela’s 2006 debut album Mas Que Un Anhelo (Eng. More Than a Longing). It is a deeply spiritual song that expresses a personal encounter with divine love and grace. It narrates a transformative journey of faith, from feelings of unworthiness to being embraced by a divine presence that heals and restores. It reflects the profound realization of God’s unconditional love. Even in their raw English translation below, the lyrics remain undeniably powerful and striking. You don’t need to be a ‘practicing’ religious person – and I’m not myself – to appreciate their profound beauty and significance.
From the beginning when I needed you From the moment when I looked at you From that day, when I was alone When you looked at me
I knew you loved me, I understood it And I knew you were looking for more of me That you waited for me for a long time and I didn’t arrive I knew you loved me, even though Far from your home, I left And with a kiss and with love You gave me your forgiveness, I’m here
And when I was far away I felt you I knew that you took care of me then and I heard you Your voice was like a whisper in the silence Every day you drew me to you
I knew you loved me, I understood it And I knew you were looking for more of me That you waited for me for a long time and I didn’t arrive I knew you loved me, even though Far from your home, I left And with a kiss and with love You gave me your forgiveness…
If I had to choose a Latina artist that I knew whose music would lift me up then Marcela would be my principal choice. I learnt of Marcela’s music after I came to Colombia and by good fortune heard her music one day in a perfumier. The fragrances took a back-seat to her intoxicating voice. I had to hear her again after I got home, which I did and every song on her 1 hour music list floored me.
At 18 years Marcela devoted to serve herself as a singer of Christian music. Marcela is currently studying Bachelor of Marketing and International Business at the University of Texas at El Paso.
Good Lord, this song casts me back to my Academy days, which I recalled in another song entry by Bryan Adams – Heaven. Today’s featured track – Summer of 69 had about the biggest tractor beam pull of any song to lure me onto the dance floor in my young adulthood. I’m not nearly as attached to these songs now, but I do like to hear them on the rare occasion to reminisce about my old friends and the good times we shared.
You can see Bryan above oozing the whole Springsteen ‘Born in the USA‘ vibe despite him being a Canadian singer-songwriter. It must have been popular international attire since where I come from on the far western suburbs of Sydney, we called people who donned this; not to be confused with the settled, crisp, happily country garb which reeked of ‘contented money’, rather the ‘untucked’ flannelette top – ‘westie’. But Bryan Adams would have hardly been their choice of music, rather something like ACDC. Oh and by the way, the aforementioned is an example of how you too can inadvertently offend the maximum of readers in just one paragraph.
Summer of ‘69 is the fourth single from Bryan Adam’s fourth album, Reckless. Written by Adams and Jim Vallance, the song went through a number of changes because neither Adams nor Vallance was convinced it was a strong enough song to be featured on the album. In their first draft, the lyric “summer of ’69” appeared only once and was originally titled “Best Days of My Life”. On the final draft it had been replaced by “Summer of ’69” and appeared only two times throughout the song. You can read more in the Wikipedia reference below about its conception and how The Beatles – “Strawberry Fields Forever” was the main inspiration.
While Summer of ’69 does tell a story of a young man, potentially set in 1969, it was actually written about “making love in the summertime” according to Bryan in this CBS article, hence using the number “69” as a reference to sex. But co-writer Vallance disputes this.
The song was an international hit, reaching No 5 in the US and helped push Reckless to the number one position. It remains one of Adams’ most popular songs.
Fun Facts about his song: – Singer Ryan Adams shared he “had to go into therapy” over the humiliation he’d suffered over several years of people confusing him with Bryan Adams and requesting this song at his concerts. Famously in 2002, a heckler shouted through seven straight songs requesting it, prompting Ryan to hand the man $40 and ask him to leave. – As of 2017, Summer of ’69 was, at number 115, the only song from 1995 or earlier among the 150 most streamed songs of all time in Canada by Canadian artists…It is also the most played song on Canadian radio among songs by Canadian artists originally released before 1990. – In a poll conducted by Decima Research in 2006, Summer of ’69 was voted the best driving song among Canadians who sing in their cars…In 2010, the song was voted the “hottest summer song” in Germany.
[Verse 1] I got my first real six-string Bought it at the Five and Dime Played it ’til my fingers bled Was the summer of ’69
[Verse 2] Me and some guys from school Had a band and we tried real hard Jimmy quit, Jody got married Should’ve known we’d never get far
[Chorus 1] Oh, when I look back now That summer seemed to last forever And if I had the choice Yeah, I’d always wanna be there Those were the best days of my life
Hey!
[Verse 3] Ain’t no use in complainin’ When you got a job to do Spent my evenings down at the drive-in And that’s when I met you, yeah
“Summer Days” is recalled as Bob Dylan’s first foray into crafting a swing-infused, vintage rockabilly tune. It takes its place as the third track on his thirty-first studio album, Love and Theft. I’ve always enjoyed the playful wit and impulsive flair in Dylan’s lyrics here; his old-timey musical charm shines through brilliantly. The song’s themes – fleeting romance, existential reflections, and a dash of absurdity—combine to create a fascinating narrative puzzle. Throughout, Dylan juxtaposes nostalgic Americana with a sharp, self-aware humor, epitomized in lines like, “The girls all say, / You’re a worn-out star.”
The album Love and Theft in general showed Dylan at a point in his career of blending traditional American music forms like blues, rockabilly, and swing. The sessions were recorded in just 12 days at Clinton Recording Studios in New York. Dylan’s touring band at the time served as his studio ensemble, lending the album a live, unpolished feel. Summer Days exemplifies this dynamic, with the musicians firing on all cylinders to capture its infectious swing energy. Known for its upbeat tempo and danceable rhythm the song often served as a high-energy highlight in Dylan’s live setlists.
David Kemper, Dylan’s drummer recalled about the recording sessions:
I didn’t realise we were actually headed somewhere. I wasn’t smart enough to realise: you are in the School of Bob. But when we went in to record Love And Theft, I realised then, because the influences were really so old on that record. It comes from really early Americana, way back at the turn of the century, and the 1920s. And not everybody in the band was familiar with that style of playing….And then when we went in and recorded Love And Theft it was like, oh my God, he’s been teaching us this music—not literally these songs, but these styles.
The enthusiastic reception of Love and Theft continued Dylan’s artistic comeback following 1997’s Time Out of Mind. It also won the Grammy Award for Best Contemporary Folk Album at the 44th Annual Grammy Awards.
[Verse 1] Summer days, summer nights are gone Summer days and the summer nights are gone I know a place where there’s still something going on I got a house on a hill, I got hogs out in the mud I got a house on a hill, I got hogs all out in the mud I got a long-haired woman, she got royal Indian blood Everybody get ready to lift up your glasses and sing Everybody get ready to lift up your glasses and sing Well, I’m standing on the table, I’m proposing a toast to the king Well I’m driving in the flats in a Cadillac car The girls all say, “You’re a worn-out star” My pockets are loaded and I’m spending every dime How can you say you love someone else when you know it’s me all the time?
[Verse 2] Well, the fog’s so thick you can’t spy the land The fog is so thick that you can’t even spy the land What good are you, anyway, if you can’t stand up to some old businessman? Wedding bells are ringing, the choir is beginning to sing Yes, the wedding bells are ringing and the choir’s beginning to sing What looked good in the day, at night is another thing She’s looking into my eyes, she’s-a holding my hand She looking into my eyes, she’s holding my hand She said, “You can’t repeat the past.” I said, “You can’t? What do you mean You can’t? Of course you can.” Where do you come from? Where do you go? Sorry, that’s nothing you would need to know Well, my back has been to the wall for so long, it seems like it’s stuck Why don’t you break my heart one more time just for good luck?
[Verse 3] I got eight carburetors, boys, I’m using ’em all Well, I got eight carburetors and, boys, I’m using ’em all I’m short on gas, my motor’s starting to stall My dogs are barking, there must be someone around My dogs are barking, there’s must be someone around I got my hammer ringing, pretty baby, but the nails ain’t going down You got something to say, speak or hold your peace Well, you got something to say, speak now or hold your peace If it’s information you want, you can get it from the police Politician’s got on his jogging shoes He must be running for office, got no time to lose He’s sucking the blood out of the genius of generosity You been rolling your eyes—you been teasing me
[Verse 4] Standing by God’s river, my soul is beginning to shake Standing by God’s river, my soul’s beginning to shake I’m counting on you, love, to give me a break Well, I’m leaving in the morning as soon as the dark clouds lift Yes, I’m leaving in the morning just as soon as the dark clouds lift Gon’ break the roof in, set fire to the place as a parting gift Summer days, summer nights are gone Summer days, summer nights are gone I know a place where there’s still something going on
Mark Knopfler:“When the guys said ‘Thank you very much, We are the Sultans of Swing,’ there was something really funny about it to me because Sultans, they absolutely weren’t. You know they were rather tired little blokes in pullovers.”
If Earthlings were tasked with presenting a single song to an extraterrestrial civilization to demonstrate the beauty and mastery of guitar playing – a piece that embodies the guitar’s central role in contemporary music, particularly rock ‘n roll – Sultans of Swing would undoubtedly make the shortlist, if not be the ultimate choice. Today’s featured track is a testament to the art of ensemble guitar playing: accessible, irresistibly catchy, and undeniably one of the greatest musical achievements ever recorded. This song is the epitome of ‘straight-up feel good music’. Even decades later, its raw energy and kinetic allure remain as impactful as ever, cementing its place as a rock ‘n roll masterpiece which echoes throughout the ages.
Not only all that, but consider the significance of this song on the career of Dire Straits. It was their breakout song. THE song that got the record executives talking due to its popularity being put on rotation at BBC Radio London in 1977 and soon after the band were offered a contract with Phonogram Records. The song was then re-recorded in February 1978 at Basing Street Studios for the band’s debut album. Not only musically, but this song contains fantastic lyrics. It’s a story song, told as a second person narrative about the London Jazz experience and is based on Knopfler watching a band perform in a pub in Deptford, who called themselves The Sultans of Swing.
[Verse 1] You get a shiver in the dark It’s raining in the park, but meantime South of the river, you stop And you hold everything A band is blowing Dixie, double-four time You feel alright when you hear that music ring
[Verse 2] Well, now you step inside But you don’t see too many faces Coming in out of the rain To hear the jazz go down Competition in other places Ah, but the horns, they’re blowing that sound
[Refrain] Way on down south Way on down south, London town
[Verse 3] You check out guitar George He knows all the chords Mind, it’s strictly rhythm He doesn’t want to make it cry or sing They’ve said an old guitar is all he can afford When he gets up under the lights to play his thing
[Verse 4] And Harry doesn’t mind If he doesn’t make the scene He’s got a daytime job He’s doing alright He can play the honky-tonk like anything Saving it up for Friday night
[Refrain] With the Sultans With the Sultans of Swing Yeah
[Verse 5] And a crowd of young boys They’re fooling around in the corner Drunk and dressed in their best brown baggies And their platform soles They don’t give a damn about any trumpet playing band It ain’t what they call Rock and Roll
[Refrain] And the Sultans Yeah, the Sultans, they play Creole Creole
[Guitar Solo]
[Verse 6] And then the man He steps right up to the microphone And says at last Just as the time bell rings “Goodnight, now it’s time to go home” Then he makes it fast with one more thing
[Refrain] “We are the Sultans We are the Sultans of Swing”
The following information includes extracts from the Wikipedia reference below: The single would go on to reach the top 5 in the United States as well as the top 10 in Australia and the United Kingdom. The song has since remained a staple of classic rock radio, and is one of the band’s most recognizable songs. Interesting trivia fact for ‘us’ Aussies out there: ‘On 12 September 1980, Sultans of Swing was the first song to air on a commercial station on the FM radio band in South Australia as part of a test reel for radio station SA-FM.
Writing in 2013 on the impact of the song, Rick Moore of American Songwriter reflected:
With “Sultans of Swing” a breath of fresh air was exhaled into the airwaves in the late ’70s. Sure, Donald Fagen and Tom Waits were writing great lyrics about characters you’d love to meet and Jeff Beck and Eddie Van Halen were great guitar players. But Knopfler, he could do both things as well or better than anybody out there in his own way, and didn’t seem to have any obvious rock influences unless you try to include Dylan.
If I Were You by Australian country music artist Kasey Chambers is the sixth song to be presented here from one of my favourite records – Barricades and Brickwalls. The record is listed in many top ‘Australian Albums’ compilation lists and ended up going platinum in 2002 becoming the highest selling album by an Australian artist in that year. While I wouldn’t class today’s featured track as top shelf amongst Kasey’s stellar discography, this sweet tune still nudges its way into my Music Library Project. If I Were You was released as the fifth and final single from the album and peaked at No 32 on the Australian charts. The CD single also released a live version of one of my cherished songs from her called Nullarbor Song which I wrote about in September last year paying homage to my brother Jonathan’s road trip across the Nullarbor Plain in Australia.
Lyrically, If I Were You engages me, much like all of Kasey Chambers’ songwriting. It follows a similar vein to her breakout hit (Am I) Not Pretty Enough, offering layers of meaning. On one level, it expresses the yearning for attention from a partner or someone desirable. On another, it seems to reflect her frustration with the underwhelming commercial recognition she’s faced, partly due to radio stations’ initial reluctance to embrace her music. Ironically, it was ABC radio that first introduced me to her work. I still vividly remember hearing her on a hot summer day in 2002, as I drove through South East Victoria, Australia. I’ve been a fan ever since.
If I was good I’d tell everyone I know If I was free I wouldn’t be so keen to go If I was wrong I would take it like a man If I was smart I would get out while I can If I was broken I would probably let it be If I was dying I wouldn’t go out quietly If I was lost, well, my heart would feel the same If I was honest I would probably be ashamed
But if I were you I would notice me If I were you I would wait for me If I were you I would easily hold me and say It’s all gonna be okay
If I was rich I would spend it on my own If I was dignified I’d only smoke at home If I was dark, well, I’d only dress in black If I was chosen I would gladly give it back
But if I were you I would notice me If I were you I would wait for me If I were you I would easily hold me and say It’s all gonna be okay
It’s not for you to judge From all this kind of stuff I’m only half of what you see
But if I were you I would notice me If I were you I would wait for me If I were you I would easily hold me and say It’s all gonna be okay It’s all gonna be okay
What I’ve always admired about Kasey Chambers is her transparency and authenticity. She doesn’t rely on an “image” to sell her music—it’s all about her voice and the heartfelt artistry behind her songs. Kasey’s uniqueness shines through, making it hard to pigeonhole her style, though it often carries a country vibe at its core. To learn more about Kasey, her personal journey, and her musical family, check out this video: At home with country superstar Kasey Chambers | 60 Minutes Australia. Thank you for reading.
Subterranean Homesick Blues is the pinnacle as far as counter-establishment songs are concerned. A lot of people think that this masterpiece may well have been the first ever song which exhibited predominant features of the rap genre including the following: – Dylan’s rhythmic spoken delivery set to a consistent beat or rhythm, – How it features an ‘improvisational feel’, clever wordplay, cultural references, and a stream-of-consciousness style, elements that are central to many rap lyrics, and – social and political commentary, and Dylan’s song, though humorous and absurdist, touches on contemporary issues and critiques, similar to how many rap songs address societal themes. Subterranean Homesick Blues is in my top 10 Bob Dylan songs from this decade’s output.
The title for the song refers to a nostalgia for the Beat generation. In 1958, Jack Kerouac wrote The Subterraneans – a semi-autobiographical work documenting the lives of urban youth in the Beat generation. For this, the contemporaneous Beat poet Allen Ginsberg referred to the beat poets as “Subterraneans” to highlight the underground nature of their illicit activities. The documentary about Dylan’s 1965 England Tour, Don’t Look Back, opens with the music video below for the song where Allen Ginsberg can be seen standing in the background.
[Verse 1] Johnny’s in the basement, mixin’ up the medicine I’m on the pavement, thinkin’ about the government The man in a trench coat, badge out, laid off Says he’s got a bad cough, wants to get it paid off Look out kid, it’s somethin’ you did God knows when, but you’re doin’ it again You better duck down the alleyway, looking for a new friend The man in the coon-skin cap in a pig pen Wants 11 dollar bills – you only got 10
[Verse 2] Maggie comes fleet foot, face full of black soot Talkin’ that the heat put plants in the bed, but Phone’s tapped anyway Maggie says the many say They must bust in early May Orders from the D.A Look out kid, don’t matter what you did Walk on your tip toes, don’t tie no bows Better stay away from those that carry around a fire hose Keep a clean nose, watch the plainclothes You don’t need a weather man to know which way the wind blows
[Verse 3] Oh, get sick, get well, hang around a ink well Hang bail, hard to tell if anything is gonna sell Try hard, get barred, get back, ride rail Get jailed, jump bail, join the Army if you fail Look out kid, you’re gonna get hit By losers, cheaters, six-time users Hanging ’round the theaters Girl by the whirlpool’s looking for a new fool Don’t follow leaders, a-watch the parking meters
[Verse 4] Oh, get born, keep warm Short pants, romance Learn to dance, get dressed Get blessed, try to be a success Please her, please him, buy gifts Don’t steal, don’t lift 20 years of schoolin’ and they put you on the day shift Look out kid, they keep it all hid Better jump down a manhole, light yourself a candle Don’t wear sandals, try to avoid the scandals Don’t want to be a bum, you better chew gum The pump don’t work ’cause the vandals took the handles
Subterranean Homesick Blues was recorded on January 14, 1965, and released as a single by Columbia Records. It is the first track on the album Bringing It All Back Home, released some two weeks later. It was Dylan’s first Top 40 hit in the United States, peaking at number 39 on the Billboard. It also entered the Top 10 of the UK Singles Chart. It is ranked 187th on Rolling Stone’s 500 Greatest Songs of All Time list. John Lennon was reported to find the song so captivating that he did not know how he would be able to write a song that could compete with it.
One of Dylan’s first electric recordings, Subterranean Homesick Blues is also notable for its innovative music video which is often considered one of the earliest examples of a promotional video, and holds a significant place in cultural history. This low-budget, minimalist approach influenced countless musicians and directors, showing that storytelling and creativity could trump flashy production. I recently wrote how the Argentine Rock singer songwriter Andres Calamaro in his fantastic song – Te Quiero Igual (I Love You Just the Same) did a pretty sweet Bob Dylan tribute using the signage imagery in his own video. The cue cards were written by Donovan, Allen Ginsberg, Bob Neuwirth and Dylan himself. The clip was shot in an alley close to the Savoy Hotel in London. The Savoy Hotel has retained much of its exterior as it was in 1965, and the alley used in the film has been identified as the Savoy Steps.
Stumble Away is the closing track on David Bridie’s 2003 album – Hotel Radio (see inset). It’s almost certain you haven’t heard of this 2003 record unless you had read my previous song articles. There isn’t even a wiki page about Hotel Radio, but it remains one of my favourite Australian records by one of my favourite Australian singer – songwriters. Suffice to say, David Bridie as both a solo act; and founder, composer and front man of the group My Friend the Chocolate Cake is one of the most prolific artists on my blog.
Bridie lived in the inner North suburbs of Melbourne where I also lived from 2005 – 2009. I saw him live on numerous occasions. In 2021 he moved to an off-grid property close to the Otway National Park on Victoria’s Shipwreck Coast. Bridie balanced his career as a live musician with the composition of soundtrack music, with credits for over 16 feature films. He is also a seven time ARIA award winning composer and has enjoyed a distinguished career as one of Australia’s most innovative musicians.
Bridie’s music is undeniably atmospheric, and Stumble Away is no exception. He delves into the art form of sonic texture. It’s a deeply introspective and melancholic piece that resonates with my musical sensibilities in a way few other tracks can. Moreover, I’ve always considered David Bridie as musically Australia’s best kept secret and it looks like it is going to stay that way with today’s featured track having amassed 11 views in the video below.
Would you like to run faster But you know there’s no way There’s only enthusiasts anywhere today And should the hope ’round the corner Prove quite a surprise There’s a man with a card saying “Don’t be sick, don’t be old, don’t be ordinary, otherwise” I don’t feel so good today, Well I fall down It pays to keep your eyes open Read beneath what they say This is all one great big lie Just like Australia day And the crowd are out watching The fireworks in the rain They all do nothing, say nothing Silence is lying I don’t feel so good today, then I fall down Then I stumble away, stumble away I wish that I may, and I wish you don’t mind Keep my head and my nerve if the fight is a good fight Should the hope round the corner prove quite a surprise And there’s a man with a card saying “don’t be sick, don’t be old, don’t be ordinary Otherwise…” I don’t feel so good today, then I fall down slowly Then stumble away, stumble away, stumble away
Stuck on You is just a beautifully conceived and executed love ballad. It sounds on the surface simple and conventional, but it is deceptively well crafted and contains fantastic songwriting with a country flavour distinct from his previous R&B. My appreciation of it has only grown over the years despite having heard it ten’s of times. Quality music like this never gets old. It’s also a time capsule possessing the best of the balladry and soft-rock music from that era with a gentle dose of country – ‘Guess I’m on My Way / Mighty glad you stayed‘ for good measure. In 1980, he wrote and produced the US No 1 single Lady for Kenny Rogers. Kenny even said Lionel Richie is a country artist with a soul backdrop. Stuck on You is the third song to feature here after his previous entries Hello and Endless Love (Ft. Diana Ross). The latter remains in the top 20 bestselling singles of all time, and the biggest career hit for both artists.
The following contain extracts from the two Wikipedia references below: Stuck on You was the fourth single released from Lionel Richie second studio album, Can’t Slow Down, released in June 1984, by Motown. In the US and the UK, it peaked at number three and number 12, respectively. It was also his country debut peaking at number 24 on the country chart.
Born Lionel Brockman Richie Jr. in 1949, Richie rose to fame in the 1970s as a songwriter and the co-lead singer of the Motown group Commodores; writing and recording the hit singles Easy, Sail On, Three Times a Lady and Still with the group before his departure. After spawning the number one singles All Night Long (All Night) and Hello, he co-wrote the 1985 charity single We Are the World with Michael Jackson, which sold over 20 million copies. His third album, Dancing on the Ceiling (1986), spawned the number one single Say You, Say Me.
[Verse 1] Stuck on you I’ve got this feeling down deep in my soul that I just can’t lose Guess I’m on my way Needed a friend And the way I feel now, I guess I’ll be with you ’til the end Guess I’m on my way Mighty glad you stayed
[Verse 2] I’m stuck on you Been a fool too long, I guess it’s time for me to come on home Guess I’m on my way So hard to see That a woman like you could wait around for a man like me Guess I’m on my way Mighty glad you stayed
[Bridge] Oh, I’m leaving on that midnight train tomorrow And I know just where I’m going I’ve packed up my troubles and I’ve thrown them all away ‘Cause this time, little darling I’m coming home to stay
[Verse 3] I’m stuck on you I’ve got this feeling down deep in my soul that I just can’t lose Guess I’m on my way I needed a friend And the way I feel now, I guess I’ll be with you ’til the end Guess I’m on my way I’m mighty glad you stayed
Observation Blogger 