Saturday Nights Alright For Fighting (1973) – Elton John

Posted on August 12, 2024 by observationblogger — 6 Comments

A couple of the sounds that I really like
Are the sounds of a switchblade and a motorbike
I’m a juvenile product of the working class
Whose best friend floats in the bottom of a glass

My music library project wouldn’t be nearly complete without this Elton John classic rock – Saturday Nights Alright (For Fighting). It’s a shame this rowdy anthem for the weekend falls on a Monday here, but at least it will propel us in the right direction for the week ahead. This might be Elton John’s most lauded ‘rock’ song, carrying Crocodile Rock just one step further. It is a lively throwback to early rock and roll with a glam edge. Released in 1973 on his masterpiece (and best – selling) album Goodbye Yellow Brick Road, Saturday… became a staple for those looking to kick off their weekends with a bang.

The song was inspired by Bernie Taupin’s memories of his teenage years in particular, the fistfights in his local pub, the Aston Arms in Market Rasen. Taupin has said that the song was meant to be an American rock and roll song set in Britain. Taupin, known for his evocative and often introspective lyrics, took a different approach with this song. He recalled that a Saturday night out often meant more than just dancing—it meant a bit of chaos and, perhaps, a barroom brawl.

[Verse 1]
It’s getting late, have you seen my mates?
Ma, tell me when the boys get here
It’s seven o’clock and I wanna rock
Wanna get a belly full of beer
My old man’s drunker than a barrel full of monkeys
And my old lady, she don’t care
My sister looks cute in her braces and boots
A handful of grease in her hair

[Chorus]
Oh, don’t give us none of your aggravation
We had it with your discipline
Oh, Saturday night’s alright for fighting
Get a little action in
Get about as oiled as a diesel train
Gonna set this dance alight
‘Cause Saturday night’s the night I like
Saturday night’s alright, alright, alright, ooh

[Verse 2]
Well, they’re packed pretty tight in here tonight
I’m looking for a dolly who’ll see me right
I may use a little muscle to get what I need
I may sink a little drink and shout out, “She’s with me”
A couple of the sounds that I really like
Are the sounds of a switchblade and a motorbike
I’m a juvenile product of the working class
Whose best friend floats in the bottom of a glass

[Chorus]

[Guitar break]

[Chorus]

[Outro]

Elton John’s melody matched Taupin’s rough-and-tumble lyrics perfectly. It’s fast-paced, full of energy, and loud. The song kicks off with Davey Johnstone’s distorted guitar riff, immediately setting the tone for what’s to come—a no-holds-barred, rock ‘n’ roll party. Recorded in the Château d’Hérouville, the same French studio where Elton recorded several of his classic albums, the production captures the raw energy of the band. The track also features Elton’s signature piano playing, though it’s more percussive and driving here reminiscent of Jerry Lee Lewis perfectly blending with the rock-heavy arrangement.

The song quickly became a fan favorite during concerts, often appearing as a high-energy highlight in the setlist. Over the years, Saturday Night’s Alright (For Fighting) has been a constant in Elton’s live performances, proving its staying power. I have presented below the original studio release version, a fantastic live version of Elton and Anastasia at Madison Square Garden in 2000. My family and I wore out watching this DVD “Elton John One Night Only – The Greatest Hits“.

In the UK, the song entered the Music Week Top 50 the week of 7 July 1973, rose to No. 7, and stayed in the charts for 9 weeks and is one of John’s most critically and commercially successful singles in that country. In the US, the song entered the Billboard Top 40 the week of 11 August 1973, rose to No. 12.

Reference:
1. Saturday Night’s Alright for Fighting – Wikipedia

Piano Concerto No.1 in E minor, Op.11 – 2. Romance-Larghetto (1830) – Frédéric Chopin

Posted on August 11, 2024 by observationblogger — 8 Comments

Painting of Chopin by Ambroży Mieroszewski in 1829

Frédéric Chopin’s Movement 2 – Romance-Larghetto from his Piano Concerto No. 1 is the perfect piece for a drizzly Sunday morning here in Bogota, Colombia. I find it stunning and my eyes well with tears as I listen to it again now. I can see why Chopin was renowned as the ‘Prince of Pianists‘. It’s astonishing to me he wrote such a beautiful concerto when he was only 20 years old. I believe the first time I heard parts of it was in the soundtrack of Peter Weir’s The Truman Show.

His Piano Concerto No. 1 was first performed on 12 October, 1830, at the Teatr Narodowy (the National Theatre) in Warsaw, Poland, with the composer as soloist, during one of his “farewell” concerts before leaving Poland for Paris. It was “a success…. a full house and received thunderous applause‘ according to the daily newspaper Warsaw Courier. Seven weeks later when he first played it in Paris, the Belgian musicologist François-Joseph Fétis wrote in La Revue musicale that “There is spirit in these melodies, there is fantasy in these passages, and everywhere there is originality“.

It was the first of Chopin’s two piano concertos to be published, and was therefore given the designation of Piano Concerto “No. 1” at the time of publication, even though it was actually written immediately after the premiere of what was later published as Piano Concerto No. 2 which I wrote about in April this year.

Chopin wrote the following about the Romance-Larghetto to his friend Tytus Woyciechowski:
“It is not meant to create a powerful effect; it is rather a Romance, calm and melancholy, giving the impression of someone looking gently towards a spot that calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening“.

A quick Bio

The following extract I translated from my daughter’s book on Chopin (see image inset):
Son of a Frenchman and Polish woman, Chopin was born 22 de February, 1810. Before he could learn to read he wanted to compose melodies. When he was 8-years old he played for large audiences and at 15 he was considered the finest pianist in Warsaw. Chopin wanted tranquility but in Warsaw large marching bands and the yells from angry people annoyed him. So, he decided to move to Paris where he discovered fame, luxury and high fashion. In Paris everyone celebrated the arrival of Chopin. He was renowned as the ‘Prince of Pianists‘. Chopin died in Paris at age 39. His last wishes were that they play Mozart at his funeral and let his heart rest forever in the Warsaw Cathedral.

References:
1. Piano Concerto No. 1 (Chopin) – Wikipedia

Tagged with: Frédéric Chopin, Piano Concerto No 1 in E minor op 11 - 2 Romance Larghetto
Posted in Music

Satellite of Love (1972) – Lou Reed

Posted on August 10, 2024 by observationblogger — 2 Comments

I want to dedicate this post to my blogger friend Tom (ala dylan6111) who reminded me of this song not long ago as he was very fond of Lou Reed. I became familiar with Satellite Of Love in my adolescence listening to the version by Martin Plaza from Mental As Anything.
Sadly, Tom has been missing in action since 27 June 2024. One of his last posts read:
…I’m quiet, words few…can’t concentrate, is this real…doctors words, echoing…is this my day of reckoning…
Tom was a great confidante as we were in contact most days and often disclosed about vices we toiled and acted as patrons towards the other. I hope by some miracle he returns, but until such time his absence will be sorely missed.

Satellite Of Love is the fourth song to be presented here from Lou Reed and the second after Perfect Day from his landmark ‘glam rock’ genre album Transformers. The song’s origins trace back to Reed’s time with The Velvet Underground, though it was never fully developed until his solo career took off. At the time of its release (second single from the album after his signature song Walk on the Wild Side), it achieved minor US chart success (No. 119), though it later became a staple of his concerts and compilation albums.

Satellite of Love was recorded during the Transformer sessions, produced by David Bowie and Mick Ronson. Reed’s collaboration with Bowie was a turning point in his career, bringing a new level of polish and sophistication to his sound. The production of Satellite of Love is a testament to this, with Bowie’s background vocals and Ronson’s orchestral arrangement elevating the track beyond Reed’s earlier, rawer work. Bowie had been an early fan of Reed’s former band and used his fame to promote Reed, who had not yet achieved mainstream success.

[Verse 1]
Satellite’s gone up to the skies
Things like that drive me out of my mind
I watched it for a little while
I like to watch things on TV

[Chorus]
(Bom, bom, bom) Satellite of love
(Bom, bom, bom) Satellite of love
(Bom, bom, bom) Satellite of love
Satellite of—

[Verse 2]
Satellite’s gone way up to Mars
Soon it’ll be filled with parking cars
I watched it for a little while
I love to watch things on TV

[Chorus]

[Bridge]
I’ve been told that you’ve been bold
With Harry, Mark, and John
Monday and Tuesday, Wednesday through Thursday
With Harry, Mark, and John

[Verse 1 repeat]
[Chorus]
[Outro]

Artists ranging from Morrissey to U2 have performed Satellite of Love each bringing their unique interpretation to the track. Morrissey’s cover of the song was digitally released on 2 December 2013 as a tribute to Reed, following his death in 2013.

Reference:
1. Satellite of Love – Wikipedia
2. Transformer (Lou Reed album) – Wikipedia

Tagged with: david bowie, Lou Reed, martin plaza, Morrissey, satellite of love
Posted in Music

Sarah Jane (1973) – Bob Dylan

Posted on August 9, 2024 by observationblogger — 2 Comments

The above album ‘Dylan’ (also known as ‘Fool Such as I‘ for its European release) was made up from outtakes he recorded for previous albums including today’s featured track Sarah Jane. It was released by Colombia Records in 1973 with no input from Dylan following the artist’s departure from Columbia for Asylum Records. It was the only Dylan album not released on CD in the US market, hence why I paid a pretty penny for its European CD release ‘Fool Such as I‘. My Mother has it in a cardboard box along with almost all my other Dylan collectables including over 25 still-sealed LPs, autographed (certified authentic) photo signing, still-sealed 24 karot gold disc of Blonde on Blonde and many promotion only ‘not for sale’ single CDs.

The ‘throwaway’ Dylan ’73 record including the song Sarah Jane was panned by the critics and public alike. Check out the Time’s scathing attack on today’s song:

And though “Sarah Jane” is the only noncover song on the album, we bet the songwriter wishes he could pass it off as someone else’s composition.

I couldn’t be more in disagreement with the Time’s beguiling and scandalous appraisal of Sarah Jane. They called it a ‘non cover’, but it’s derived from a steamboat song Rock about my Saro Jane which was sung by travelling entertainers sometime around the turn of the 19th/20th century.
I adore Sarah Jane as well as another from the record which I reviewed in April last year called Lily of the West. These enigmatic, hidden gems tend to elude even the mainstream approval of Dylan fans, but why?
Sarah Jane may seem disposable at first glance with lines like “Sarah Jane, Sarah Jane, ain’t nothing to gain”, but it is a wicked playful melody; somewhat delivered in laid-back, almost nonchalant way. Sarah Jane has a charm in its unpretentious nature which gives it so much appeal and is supported by an improv, but rich choral arrangement from a bygone era. It always makes me grin from ear to ear.

[Verse 1]
I got a wife and five little children
I’m going to take a trip on the big McMillan
With Saro Jane (Sarah Jane)
Saro Jane (Sarah Jane)
I have nothing to do
But to set down and sing
And rock about my Saro Jane

[Verse 2]
The boiler busted and the whistle squall
The captain has gone through the hole-in-the-wall
Oh Saro Jane (Sarah Jane)
Saro Jane (Sarah Jane)
Ain’t nothing to do
But to set down and sing
And rock about my Saro Jane

[Verse 3]
The engine give a crack and the whistle gave a squall
The engineer gone to the hole-in-the-wall
Saro Jane (Sarah Jane)
Saro Jane (Sarah Jane)
Ain’t nothing to do
But to set down and sing
And rock about my Saro Jane

[Verse 4]
Yankee built boats to shoot them Rebels
My gun’s steady going to hold it level
Saro Jane (Sarah Jane)
Saro Jane (Sarah Jane)
Ain’t nothing to do
But to set down and sing
And rock about my Saro Jane

[repeat Verse 1]

References:
1. Dylan (1973 album) – Wikipedia
2. Sarah Jane: the origin of Dylan’s song and why he recorded it. – Untold Dylan

Tagged with: Bob Dylan, Dylan, Sarah Jane
Posted in Music

Ramada Inn (2012) – Neil Young with Crazy Horse

Posted on August 8, 2024 by observationblogger — 4 Comments

This song always puts me on I-5 south at the bottom of the Grapevine, heading to LA… It’s a Crazy Horse journey, a long road. There’s a lot to see… a lot to feel out there on I-5. Don’t be scared by this song. It kept me alive. Times were tough. Now times are good. We’re rolling again…”
– Neil Young discussing ‘Ramada Inn‘ on his web site

Ramada Inn is a sprawling epic that captures the essence of a life lived in the slow lane. It is the eighth song to appear here so far from Neil Young and might sit amongst his best. This is a journey through time and memory of an ageing couple who struggle to communicate and resolve their problems. In conjunction with the poignant and unsettling lyric, Ramada Inn comprises of some very fine and epic jam guitar playing – a ‘ragged glory’ (see his 1990 album) variety which oozes Young’s soul and passion.

Frank “Poncho” Sampedro (member of Crazy Horse) more directly addresses the song’s emotion in Uncut Magazine:

“The lyrics are very personal to Neil and Pegi (Young). I told Pegi, ‘I don’t know if you’re gonna like this song or not. It seems like it’s revealing a lot of stuff. I don’t know if it’s good or bad. You should check it out.’ She came back two days later and said, ‘Poncho, it’s just a song about people and relationships. Everybody goes through that stuff.’ I saw it more as, ‘Wow, the writing on the wall has been announced.’ I cried a lot of times in that song, man.”
In July 2014, Neil filed for divorce in California.

Lines like “She loves him so, she does what she has to” and “They don’t want to know, they just want to keep on going” paint a picture of a couple trapped in the monotony of routine, yet holding on to the fragments of love that still exist. The studio development of Ramada Inn is quintessential Crazy Horse—raw, unpolished, and heavily improvised. While Ramada Inn may not have achieved the commercial success of some of Young’s earlier hits, it has been lauded by critics and fans alike as one of his most powerful and poignant works in recent years.

So many years now together?
All those good times, ups and downs
So many joys raising up those kids
Well they’ve moved on now, out of town
So many times she tried
So many times she cried
Every morning comes the sun
And they both rise into the day
Holding on to what they’ve done

She loves him so
She loves him so
She loves him so
She does what she has to
She loves him so (x3)
She does what she needs to

In a Ramada Inn near the grapevine
They stop to rest for the night
Traveling down south looking for good times
Visiting old friends feels right
People they haven’t seen him forever
Since high school, Santa Jose times
Restaurant food and the bottle
Had a few drinks
Now they’re feeling fine
Every morning comes the sun
And they both rise to the day
Holding on to what they’ve done

(Chorus)

Seem like lately things are changing
Seems like lately things are going south
A few drinks now and she hardly knows him
He just looks away and he checks out
And when she says it’s time for him to do something
Maybe talk to his old friends who gave it up
He just pours himself another tall one
Closes his eyes and says that’s enough
Every morning comes the sun
And they both rise to the day
Holding on to what they’ve done

(Chorus)

Every morning comes the sun
And they both rise to the day
Holding on to what they’ve done

(Chorus)

References:
1. Psychedelic Pill – Wikipedia

Tagged with: Neil Young with Crazy Horse, Psychedelic Pill, Ramada Inn
Posted in Music

Sara (1976) – Bob Dylan

Posted on August 7, 2024 by observationblogger — 3 Comments

Sara Lownds (now Sara Dylan) and Dylan became romantically involved in 1964; soon afterwards, they moved into separate rooms in New York’s Hotel Chelsea to be near one another. Dylan biographer Robert Shelton, who knew Dylan and Lownds in the mid-1960s, writes that Lownds “had a Romany spirit, seeming to be wise beyond her years, knowledgeable about magic, folklore and traditional wisdom”…

In September 1965, Dylan commenced his first “electric” tour of the United States, backed by the Hawks (later the Band). During a break in the tour, Dylan married Lownds – now pregnant with Jesse Dylan on November 22, 1965.
– Sara Dylan Wikipedia

They had four children, but the marriage broke down and they divorced in 1977.

Sara stands as one of the most powerful and naked songs of Dylan’s entire output. I would include other odes to Sara: Abandoned Love, Sad Eyed Lady of the Lowlands and Wedding Song in that short list as well. Dylan had written plenty of songs about the women he was romantically linked with – including Suze Rotolo and Joan Baez – but the characters in his songs always appeared under pseudonyms, sung under a false persona. Sara is written autobiographically, showing Dylan at his most vulnerable.

Desire co-writer Jacques Levy said that Dylan played Sara for his wife in 1975, during their estrangement. Sara was present at the studio and listened “from the other side of the glass” as Dylan played the song. According to Larry Sloman, Dylan turned to Sara just before beginning the song, and stated, “This one’s for you.”

“It was extraordinary. You could have heard a pin drop. She was absolutely stunned by it.”

[Verse 1]
I laid on a dune, I looked at the sky
When the children were babies and played on the beach
You came up behind me, I saw you go by
You were always so close and still within reach

[Chorus]
Sara, Sara
Whatever made you want to change your mind?
Sara, Sara
So easy to look at, so hard to define

[Verse 2]
I can still see them playing with their pails in the sand
They run to the water their buckets to fill
I can still see the shells falling out of their hands
As they follow each other back up the hill

[Chorus]

[Verse 3]
Sleeping in the woods by a fire in the night
Drinking white rum in a Portugal bar
Them playing leapfrog and hearing about Snow White
You in the marketplace in Savanna-la-Mar

[Chorus]

[Verse 4]
I can still hear the sounds of those Methodist bells
I’d taken the cure and had just gotten through
Staying up for days in the Chelsea Hotel
Writing “Sad Eyed Lady of the Lowlands” for you

[Chorus]

[Verse 5]
How did I meet you? I don’t know
A messenger sent me in a tropical storm
You were there in the winter, moonlight on the snow
And on Lily Pond Lane when the weather was warm

[Chorus]

[Verse 6]
Now the beach is deserted except for some kelp
And a piece of an old ship that lies on the shore
You always responded when I needed your help
You give me a map and a key to your door

[Chorus]

Sara is the closing song on the 1976 album Desire. Sara and One More Cup Of Coffee are the only songs on Desire not co-written by Jacques Levy. The first take of the song, recorded on July 31, 1975 in New York City, at Columbia Recording Studios, Studio E., is reportedly the one featured on the album. Bob and Sara reconciled after the recording of the song but would divorce in 1977.

References:
1. Sara (Bob Dylan song) – Wikipedia
2. Sara – Genius Lyrics

Tagged with: Bob Dylan, sara
Posted in Music

Gods & Monsters (2012) – Lana Del Rey

Posted on August 6, 2024 by observationblogger — 5 Comments

(Warning: The content of this post contain explicit messages which could offend some readers)

I have written about the pitfalls concerning the pursuit of fame in Los Angeles in my movie articles of the Coen Brothers’ Barton Fink and David Lynch’s Mulholland Drive, but now we come to this darkness and glamour in ‘song’. Lana del Rey, the enigmatic siren of modern pop, has always had a knack for crafting songs that feel like they were pulled from a hazy, cinematic dream. Gods & Monsters is no exception.

Gods & Monsters brilliantly canvasses the fears, trappings, conjecture and allurement of her art in Hollywood including testament to the infernal bondage and languor of alcohol and drug addiction. It is an ode to the hedonistic lifestyle that comes with fame—a recurring theme in her work, such as her other song Arcadia presented here in June this year. Her provocative lyrics in G&M are first – rate combined with her ghostly voice, sensual rhythm and mood-setting production elevates this song to ‘top-shelf’ at least in my music realm.
Lines like “In the land of gods and monsters, I was an angel / Looking to get fucked hard” encapsulate the dichotomy of purity and corruption, innocence and sin.

[Intro]
L.A., L.A.
L.A., L.A.

[Verse 1]
In the land of gods and monsters
I was an angel living in the garden of evil
Screwed up, scared, doing anything that I needed
Shining like a fiery beacon

[Pre-Chorus]
You got that medicine I need
Fame, liquor, love, give it to me slowly
Put your hands on my waist, do it softly
Me and God, we don’t get along, so now I sing

[Chorus]
No one’s gonna take my soul away
I’m living like Jim Morrison
Headed towards a fucked up holiday
Motel sprees, sprees and I’m singing
“Fuck yeah, give it to me, this is Heaven, what I truly want”
It’s innocence lost, innocence lost

[Verse 2]
In the land of gods and monsters
I was an angel looking to get fucked hard
Like a groupie incognito, posing as a real singer
Life imitates art

[Pre-Chorus]

[Chorus]

[Bridge]
When you talk, it’s like a movie and you’re makin’ me crazy
‘Cause life imitates art
If I get a little prettier, can I be your baby?
You tell me life isn’t that hard

[Chorus]

If Madeleine at Classic Film and TV Corner hadn’t recommended to me her favourite songs by Lana in my sole Lana music post – Radio, it is unlikely I would have encountered this music by happenstance. Gods & Monsters was released 2012, with the rest of the Paradise EP. The song became a top 40 hit in the United Kingdom, peaking at number 39 due to its usage in an advert for EastEnders’ “Who Killed Lucy?” storyline. It also peaked at number 15 on the Billboard chart. Gods & Monsters had gained popularity again in 2014 after it was covered by Jessica Lange on American Horror Story: Freak Show.

References:
1. Gods & Monsters (song) – Wikipedia

Tagged with: Gods & Monsters, Lana Del Rey
Posted in Music

Ghosteen (2019) – Nick Cave

Posted on August 5, 2024 by observationblogger — 2 Comments

If there is sadness in Ghosteen, perhaps it is the recognition that we are often blind to the splendour of the world and indifferent to its attendant wonder. Perhaps the sadness is the recognition that the world is indeed beautiful, that it spins within the palm of our own hands and its beauty is available to all, if only we had eyes to see. – Nick Cave at the red hand files

Ghosteen is the third song to appear here from Nick Cave’s hauntingly beautiful record of the same name (see inset). The first entry Bright Horses remains the most viewed post on Observation Blogger. Ghosteen (the record) was written in the aftermath of the death of Cave’s son Arthur in 2015. It is the 17th studio effort by Nick Cave & The Bad Seeds and is recognised as one of his most powerful; a meditation on mortality and our collective grief.

Nick has said the following: “In the song Ghosteen, baby bear goes to the moon in a boat; Ghosteen is that boat, as it sails through the dark to the stars, a galleon ship collecting fireflies and spirit-children as it goes. At times Ghosteen may feel unmoored and homeless, but it is pointed firmly toward paradise, the crew is joyous, the world smiles, and the sun bursts over the edge of the earth.”

In discussing the album, Cave described it as “a migrating spirit.” The first part of the album represents children, while the second represents their parents. The themes of innocence, longing, and the passage of time are vividly painted across the sonic landscape. The lyrics are infused with poetic imagery, weaving tales of suffering, compassion, and a quest for peace.

[Verse 1]
This world is beautiful
Held within its stars
I keep it in my heart
The stars are your eyes
I loved them right from the start
A world so beautiful
And I keep it in my heart

[Bridge]
A ghosteen dances in my hand
Slowly twirling, twirling all around
A glowing circle in my hand
Dancing, dancing, dancing all around (In my hand)
A ghosteen dances in my hand (In my hand)
Slowly twirling, twirling all around (All around)
A ghosteen dances in my hand (In my hand)
Dancing, dancing, dancing all around (All around)
Here we go

[Verse 2]
There goes the moonlit man
Got a suitcase in his hand
He’s moving on
Down the road
Things tend to fall apart starting with his heart
He kisses you lightly and he leaves
Leaves your sleeping body
Curled and dreaming around your smile, your smile

[Verse 3]
The three bears watch the TV
They age a lifetime, O’ Lord
Mama bear holds the remote
Papa bear, he just floats
And baby bear, he has gone
To the moon in a boat, on a boat

[Verse 4]
I’m speaking about love now
And how the lights of love go down
You’re in the back room washing his clothes
Love’s like that, you know, it’s like a tidal flow
And the past with its fierce undertow won’t ever let us go
Won’t ever let you go

[Verse 5]
If I could move the night I would
And I would turn the world around if I could
There’s nothing wrong with loving something
You can’t hold in your hand
You’re sitting on the edge of the bed
Smoking and shaking your head
Well there’s nothing wrong with loving things
That cannot even stand

[Verse 6]
Well there goes your moony man
With his suitcase in his hand
Well every road is lined with animals
That rise from their blood and walk
Well the moon won’t get a wink of sleep
If I stay all night and talk
If I stay all night and talk

The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. The studio sessions were reportedly cathartic, with Cave and Ellis allowing the music to organically unfold. Unlike their previous work, which often featured a rawer sound, this album leans heavily into ambient and minimalistic instrumentation. The use of synthesizers, strings, and gentle piano melodies creates a lush, dreamlike atmosphere that envelops the listener.

References:
1. Ghosteen – The Red Hand Files
2. Ghosteen – Wikipedia

Tagged with: ghosteen, nick cave
Posted in Music

Rain Dogs (1985) – Tom Waits

Posted on August 4, 2024 by observationblogger — 15 Comments

Can I preface by saying how difficult it is to write a post here in between watching Day 4 of the Athletics in Paris. I told my good friend Sharon a few days ago that I would boycott the Olympics after the disturbing ‘woke’ opening ceremony farce and their admittance of men into women’s boxing. So I broke my stance because I have adored Athletics ever since I was a wee tacker and I won’t let them take that away from me, just yet.
Now to resume normal programming……

When someone wrote in response to one of my Tom Waits’ posts that they were largely unfamiliar with his music, I recommended they listen to at least an hour of a wide range of his music from his extensive discography like the 19 songs (including today’s track) presented here so far. If they weren’t impressed after that hour, perhaps Tom wasn’t their’s to begin with. I’m not ashamed to say I’m a latecomer to his music, because well it’s Tom… and his music can be an acquired taste, but by golly have I been making up lost time.
When I was going on a bus ride with a friend here in Bogota many years ago, we put Tom’s music on for company and after one hour or so, we got caught: hook, line and sinker. We found ourselves chuckling over the bemusing semantics and instrumentation and felt gratified that it became an antidote for the shenanigans and hassle that Bogota’s traffic congestion can induce. Tom’s music acted like a portal into Alan Watt’s mindset; along the lines of: ‘No amount of anxiety makes any difference to anything that is going to happen‘.

You might be asking what does the above rant have to do with today’s song Rain Dogs? Well, I’m going to go out on a limb here and argue if you had to compress the aforementioned ‘one hour’ exposure of Tom to just ‘one song’ which best epitomised and encapsulated his artistry then it is Rain Dogs. It doesn’t infer if one doesn’t like Rain Dogs they won’t like Tom’s music; instead I would revert to my ‘one hour’ suggestion such is his rich and voluminous music output.

Rain Dogs is the titular track of Tom Waits’ 1985 album. It is no wonder Tom Waits was such a huge admirer (see here) of the polemical and counter-establishment writer Charles Bukowski because you can almost hear the world weary and gravelly voice of Bukowski in a lot of Tom’s material especially Rain Dogs. As a listener it feels like I am retaking a journey through guttered streets and bewildered souls, since I confess on having walked, crawled and ‘There but for the grace of God go I‘ escaped from that. Waits described the term ‘rain dogs‘ as representing people who, much like dogs lost in the rain, can no longer find their way home because the scent trail has been washed away. This poignant metaphor sets the stage for the song’s exploration of alienation and displacement.

Inside a broken clock
Splashing the wine
With all the rain dogs
Taxi, we’d rather walk
Huddle a doorway with the rain dogs
For I am a rain dog too

Oh, how we danced and we swallowed the night
For it was all ripe for dreaming
Oh, how we danced away all of the lights
We’ve always been out of our minds

The rum pours strong and thin
Beat out the dustman with the rain dogs
Aboard a shipwreck train
Give my umbrella to the rain dogs
For I am a rain dog too

Oh, how we danced with the Rose of Tralee
Her long hair black as a raven
Oh, how we danced and you whispered to me
You’ll never be going back home

The song features the marimba, accordion, and other percussion elements that add a layer of theatricality and exoticism. These choices reflect Waits’ interest in blending diverse musical traditions, creating a sound that’s both familiar and otherworldly. The mid-1980s was a period when Waits was transitioning from a piano-based balladeer to a more avant-garde performer. His live performances are known for their raw energy and improvisational flair. Despite not being a commercial juggernaut (peaking at number 29 on the UK charts and number 188 in the US), Rain Dogs has garnered a dedicated following and critical acclaim and is often cited as one of Waits’ finest works, praised for its innovative sound and lyrical depth.

References:
1. Rain Dogs – Wikipedia

Tagged with: Alan Watts, Charles Bukowski, rain dogs, Tom waits
Posted in Music

Born to Run (1975) – Bruce Springsteen

Posted on August 3, 2024 by observationblogger — 4 Comments

Born to Run, the title track is a frenzied anthem about the idealism and escapism of youth, similar to the spirit and message of another song on the record called Backstreets which I presented here in 2019. I was so awestruck by Born to Run (the album) I wrote a lyrics booklet in my youth of the whole album; complete with a little nice string to thread the pages together. Lyrics weren’t so accessible back then so I transcribed what I thought he sung. I felt like a devoted scribe of a great musical sermon. This album remains one of my favourites of all time. Today’s featured song, Born to Run (the title track) is easily his most recognisable from the record, and arguably one of the most celebrated and landmark songs of his entire career.

I’m not as enamoured by this song as I once was, since I prefer to listen to other songs from the record including the opener Thunder Road, She’s the One, Night and Backstreets. But there’s no disputing the legacy and immensity of the title track as a ‘timeless’ piece of American music which resonates with listeners across different generations. The song became a desperate call for freedom and a search for a better life.

Springsteen and the E Street Band spent six months in the studio perfecting the song, with Springsteen obsessing over every detail. He was determined to create something that would catapult him into rock stardom, and he wanted the song to sound like “Roy Orbison singing Bob Dylan, produced by Phil Spector“. The result is a wall of sound, a dense and powerful mix that captures the urgency and grandeur of the song’s themes. Upon release, music critic Robert Christgau took note of its wall of sound influence and called it “the fulfillment of everything Be My Baby was about and lots more“. The soaring saxophone solo by Clarence Clemons, the intricate guitar work, and the anthemic chorus all contribute to the song’s epic feel.

[Verse 1]
In the day, we sweat it out on the streets
Of a runaway American dream
At night, we ride through mansions of glory
In suicide machines
Sprung from cages out on Highway 9
Chrome wheeled, fuel injected and steppin’ out over the line
Oh, baby this town rips the bones from your back
It’s a death trap, it’s a suicide rap
We gotta get out while we’re young
‘Cause tramps like us, baby we were born to run
Yes, girl, we were

[Verse 2]
Wendy let me in, I wanna be your friend
I want to guard your dreams and visions
Just wrap your legs ’round these velvet rims
And strap your hands across my engines
Together we could break this trap
We’ll run ’til we drop, baby we’ll never go back
Oh, will you walk with me out on the wire?
‘Cause baby I’m just a scared and lonely rider
But I gotta know how it feels
I want to know if love is wild, babe
I want to know if love is real
Oh, can you show me?

[Saxophone Solo]

[Bridge]
Beyond the palace, hemi-powered drones
Scream down the boulevard
The girls comb their hair in rearview mirrors
And the boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in a mist
I wanna die with you, Wendy, on the streets tonight
In an everlasting kiss
Huh

[Instrumental Break]
(One, two, three, four)

[Verse 3]
The highways jammed with broken heroes
On a last chance power drive
Everybody’s out on the run tonight
But there’s no place left to hide
Together, Wendy, we can live with the sadness
I’ll love you with all the madness in my soul
Oh, someday girl, I don’t know when
We’re gonna get to that place
Where we really want to go, and we’ll walk in the sun
But ’til then, tramps like us
Baby, we were born to run

[Outro]

Born to Run was Springsteen’s first worldwide single release, although it achieved little initial success outside of the United States. Within the U.S., however, it received extensive airplay on progressive or album-oriented rock radio stations. The single was also Springsteen’s first Top 40 hit on the Billboard Hot 100, peaking at No 23. It was ranked number 27 on Rolling Stone’s 2021 list of the “500 Greatest Songs of All Time“, the highest placement for a song by Springsteen.
It is unsurprisingly his most-performed song live. Most of the time the house lights are turned fully on and fans consistently sing along with Springsteen’s signature wordless vocalizations throughout the song’s performance.

References:
1. Born to Run – Bruce Springsteen

Tagged with: born to run, Bruce Springsteen
Posted in Music

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