She’s The One (1975) – Bruce Springsteen

She’s The One is one of the most emotionally charged and fervent rock songs I recall hearing and that’s why I rate it so highly on Bruce’s historic break-out record Born to Run. It often goes under the radar against other big name songs on the record like the last entry here – the title track, but after copious listens this track hasn’t lost any of its vigor or allure to my senses. From that pulsating piano rhythm by Roy Bittan in the opening and the captivating lyrics. Then boom! The simple guitar riff in time with the rhythmic pounding of Max Weinberg’s drums really get my rock juices flowing. The rest as seen in the ‘Barcelona’ performance below is just a coalesce of the best that rock has to offer. She’s the One has got to be in my top 10 Bruce Desert Island keepers.

It’s a crescendo rock song exploring themes of love, desire, and the destructive power of infatuation. The simplicity of its rock and roll form is deceptive. Lyrically, it touches on themes of romantic obsession and lust, but there’s a darker, more complicated undercurrent—the woman in the song is unattainable, and perhaps even destructive to the protagonist.

She’s The One was one of the songs that Springsteen wrote before beginning to record the Born to Run album, along with Born to Run, Thunder Road and Jungleland, although originally he was not sure whether to include it on the album. I bet he is relieved that he did because it became a fan favourite and a popular live selection being played 565 times. Springsteen has claimed that he wrote the song primarily because he wanted to hear E Street Band saxophonist Clarence Clemons play its sax solo and high marks to him on achieving that. It’s also a nostalgic homage to the roots of rock and roll. We are talking about the apex of Rock’n Roll here.

[Verse 1]
With her killer graces
And her secret places
That no boy can fill
With her hands on her hips
Oh, and that smile on her lips
Because she knows that it kills me
With her soft French cream
Standing in that doorway like a dream
I wish she’d just leave me alone
Because French cream won’t soften them boots
And French kisses will not break that heart of stone

[Chorus 1]
With her long hair falling
And her eyes that shine like a midnight sun
Oh, she’s the one
She’s the one
Hey! Hey!

[Verse 2]
That thunder in your heart
At night when you’re kneeling in the dark
It says you’re never gonna leave her
But there’s this angel in her eyes
That tells such desperate lies
And all you want to do is believe her
And tonight you’ll try just one more time
To leave it all behind and to break on through
Oh, she can take you, but if she wanna break you
She’s gonna find out that ain’t so easy to do

[Chorus 2]
And no matter where you sleep
Tonight or how far you run
Oh, she’s the one
She’s the one

[Bridge]
Oh, and just one kiss
She’d fill them long summer nights with her tenderness
That secret pact you made
Back when her love could save you from the bitterness
Oh, she’s the one

References:
1. She’s the One (Bruce Springsteen song) – Wikipedia

Tagged with: , ,
Posted in Music

She’s My Baby (1990) – The Traveling Wilburys

She’s My Baby is another rollicking fun song from the super group The Traveling Wilburys. It’s the 11th song from the group to be presented here so far, so you could say I’m a fan putting it mildly. Most of the songs here are from their legendary Volume 1 record which included Roy Orbison, but today’s track is from their second and final studio release Volume 3. Their Volume 1 album seemed more focused and spotlighted each songwriter’s talent. Volume 3 seemed less well-honed and frivolous in its endeavour. And that’s fine and considering the recent departure of Orbison, I imagine the individuals in the group were not up to making another masterpiece rather settling for ‘mixing it up a bit and see what happens’.

Traveling Wilburys Vol. 3 is the second and final studio album by the Traveling Wilburys. I once thought Vol. 2 was skipped in memory of Roy Orbison, but according to Jeff Lynne, “That was George’s idea. He said, ‘Let’s confuse the buggers‘. After Roy’s passing the remaining 4 members adopted new pseudonyms for Vol. 3 – Spike (George Harrison), Clayton (Jeff Lynne), Muddy (Tom Petty) and Boo (Bob Dylan). Today’s featured track She’s My Baby was written by all 4 members – and each of them sing a portion of the track. The song was released as the first single from the album, although it was only issued as a promotional single in the United States. The lead guitar part is played by Gary Moore.

The single peaked at number 2 on the Billboard Album Rock Tracks chart peaking there for 3 weeks behind Concrete and Steel by ZZ Top. The album was less positively received than Vol. 1, yet still saw a fair measure of success peaking at number 14 in the UK and number 11 in the US, where it was certified platinum.

She’s got her pudding in the oven
And it’s gonna be good
She better not leave me
And go out to Hollywood
She got the best pudding in the neighborhood
She’s my baby

She can drive a truck
She can drive a train (My baby, m-my my baby)
She can even drive an aeroplane
She’s so good to look at in the rain
She’s my baby

She’s comin’ down the sidewalk
She’s stumblin’ through the door
She’s coming home from places
She’s never been before
She sits down on the sofa
She pours herself a drink
Says, “Honey, honey, honey, ain’t no time to think”

She’s got a body for business
Got a head for sin
She knocks me over like a bowling pin
She came home last night and said
“Honey, honey, honey, it’s hard to get ahead”

She can build a boat
She can make it float (My baby, m-my my baby)
She can play my guitar
Note for note
She likes to stick her tongue right down my throat
She’s my baby

My baby
My baby
My baby

References:
1. She’s My Baby (Traveling Wilburys song) – Wikipedia

Tagged with: , ,
Posted in Music

She’s A Mystery To Me (1989) – Roy Orbison

In the late 1980s, Roy Orbison experienced a career resurgence with a string of solo hits, further cemented by his unforgettable contribution to the supergroup, The Traveling Wilburys. One such stand – out single is today’s featured track She’s a Mystery to Me. It was written by Bono from U2 and the backstory as described below about it coming to fruition is fascinating. She’s a Mystery to Me was released on Orbison’s final (posthumous) album, Mystery Girl (also inspiring the album title), and as the album’s second single in March 1989. What always stood out for me apart from his consummate voice here is the mesmerising guitar work.

Composition (from the Wikipedia article below):
During a restless night of sleep in June 1987 in London during U2’s Joshua Tree Tour, Bono slept with the soundtrack to the film Blue Velvet CD on repeat. The CD had been given to him by the Edge’s wife. The soundtrack includes the song “In Dreams” by Orbison. When he woke the following morning, Bono had a tune in his head which he assumed was from the soundtrack. He soon realised it wasn’t, so he wrote down the basic structure of the song. Later that day he sang the unfinished song to the band at their pre-concert soundcheck at Wembley Arena. After the concert, Orbison paid the band an unannounced visit backstage, where a perplexed Bono played the song for him. Bono and Orbison worked again on the song in mid-November in Los Angeles. The album Mystery Girl was named after the song’s chorus (“She’s a mystery to me, she’s a mystery girl…”)

Critical reception towards the song was overwhelmingly positive. It peaked at No 26 on the US Billboard charts and No 17 in Australia. She’s a Mystery to Me came later in Roy’s career and so close to his unexpected passing will forever be etched into our memories as avid music – goers.

[Verse 1]
Darkness falls and she
Will take me by the hand
Take me to some twilight land
Where all but love is grey
Where I can’t find my way
Without her as my guide

[Bridge 1]
Night falls, I’m cast beneath her spell
Daylight comes, our heaven turns to hell
Am I left to burn
And burn eternally?
She’s a mystery to me

[Chorus]
She’s a mystery girl
She’s a mystery girl

[Verse 2]
In the night of love
Words tangled in her hair
Words soon to disappear
A love so sharp it cut
Like a switchblade to my heart
Words tearing me apart

[Bridge 2]
She tears again my bleeding heart
I wanna run, she’s pulling me apart
Fallen angel cries
And I just melt away
She’s a mystery to me

[Chorus]

[Verse 3]
Haunted by her side
It’s the darkness in her eyes
That so enslaves me
But if my love is blind
Then I don’t want to see
She’s a mystery to me

References:
1. She’s a Mystery to Me – Wikipedia

Tagged with: , ,
Posted in Music

Shenandoah (1988) – Bob Dylan

When I hear this version, I am in a canoe in a river in the East Part of USA, ca 1770, paddling to meet my sweet Indian princess.
– Anon

Even a Dylan album Rolling Stone labelled as his worst has some good stuff on it, including today’s featured track Shenandoah. Listening to it always reminded me of that 1965 Jimmy Stewart Civil War movie by the same name because the instrumental version of “Oh Shenandoah” featured prominently on the film’s soundtrack. It is a traditional folk song, sung in the Americas, of uncertain origin, dating to the early 19th century. It appears to have originated with American and Canadian voyageurs or fur traders travelling down the Missouri River in canoes. Some lyrics of this song as heard here tell the story of a trader who fell in love with the daughter of the Oneida Iroquois chief Shenandoah (1710–1816) who lived in the central New York state town of Oneida Castle.

[Verse 1]
Oh, Shenandoah, I long to hear you
Look away, you rolling river
Oh, Shenandoah, I long to hear you
Look away. We’re bound away
Across the wide Missouri

[Verse 2]
Now the Missouri is a mighty river
Look away, you rolling river
Indians camp along her border
Look away. We’re bound away
Across the wide Missouri

[Verse 3]
Well a white man loved an Indian maiden
Look away, you rolling river
With notions his canoe was laden
Look away, we’re bound away
Across the wide Missouri

[Verse 4]
Oh Shenandoah, I love your daughter
Look away, you rolling river
It was for her I’d cross the water
Look away, we’re bound away
Across the wide Missouri

[Verse 5]
For seven long years I courted Sally
Look away, you rolling river
Seven more years I longed to have her
Look away, we’re bound away
Across the wide Missouri

[Verse 6]
Well, it’s fare-thee-well, my dear
I’m bound to leave you
Look away you rolling river
Shenandoah, I will not deceive you
Look away, we’re bound away
Across the wide Missouri

This is a guilty pleasure Dylan track that I like hearing from time to time. Down in the Groove his twenty – fifth studio album was a highly collaborative effort, more than normal, (including the appearance of the Grateful Dead) and the songs that made the final cut come from half a dozen different recording sessions spread out over six years. After the album’s release, Dylan went live incorporating an endless variety of traditional cover songs; a marked departure from previous shows. It would be a prelude of where he ventured in the early 1990’s on the Good as I Been to You and World Gone Wrong albums.

References:
1. Oh Shenandoah – Wikipedia

Tagged with: , ,
Posted in Music

Me Voy (2006) – Julieta Venegas

Me Voy (English: I’m Leaving) is the second song to be presented here from American-born Mexican singer Julieta Venegas after her first entry Limón y Sal (Lemon and Salt). It was the first single from her album Limón y Sal and is by far her most successful song to date reaching the top of the US Billboard Latin Pop Airplay. In Mexico the song spent twelve consecutive weeks at number one and also peaked at number one in Colombia. The song was also nominated for the Latin Grammy Awards of 2006. The album established her as one of the most prominent songwriters in Latin pop.

Written by Julieta Venegas and produced by Cachorro López, Me Voy is a Ranchera/Pop farewell song between two lovers. I was enchanted with Me Voy from first-listen and the music video below only enhanced my appreciation of the song. Musically, it features a lively rollicking guitar melody accompanied by Venegas’ signature accordion, creating a lighthearted yet bittersweet tone. This duality between upbeat music and introspective lyrics adds to the song’s charm and always induces a smile in this listener.

A crude English translation of the lyrics follow:

[Verso 1]
Why didn’t you understand my heart?
What was in it
Why didn’t you have the courage to see who I am?
Why don’t you listen to what’s so close to you?
Only the noise outside and me
That I am on one side I disappear for you

[Pre-Coro]
I’m not going to cry and say that I don’t deserve this
Because I probably do
But I don’t want it, that’s why I’m leaving

[Coro]
What a pity, but goodbye
I say goodbye to you and I’m leaving
What a pity, but goodbye
I say goodbye to you

[Verso 2]
Because I know that something better awaits me
Someone who knows how to give me love
The kind that sweetens the salt and makes the sun come out
I thought I would never leave you
That it’s good love, for life, but
Today I understood that there’s not enough for both of us

Julieta Venegas Percevault was born on November 24, 1970. She is a songwriter, instrumentalist and producer who specializes in pop-rock-indie music in Spanish. She plays 17 instruments including acoustic guitar, accordion, and keyboard. She also speaks English, Portuguese, and Spanish. Born in Long Beach, California, United States due to birth tourism, Venegas grew up in Tijuana and began playing instruments from a young age. Since 2017, she has resided in Buenos Aires, where she made her debut as a theatre actress in the play “La Enamorada” by Argentine writer Santiago Loza.

The video below begins with Julieta Venegas in a room where she is singing to a man but he is sleeping. She packs her things and flies off in a hot air balloon. She lands in a variety of locations including the desert, south pole and a forest but she tires of her life in each. The video ends with her flying off into the sunset in her hot air balloon.

References:
1. Me Voy (Julieta Venegas song) – Wikipedia
2. Julieta Venegas – Wikipedia

Tagged with: , ,
Posted in Music

Shelter From The Storm (1975) – Bob Dylan

Shelter From The Storm is the fourth song to be presented here from one of Bob Dylan’s most highly regarded albums Blood on the Tracks. I also mentioned it recently in my post about Bruce Springsteen’s Secret Garden because both songs serve as a couplet in Cameron Crowe’s movie Jerry Maguire where the woman is presented as a symbol of safety and comfort. In Shelter from the Storm: The woman is a literal shelter, providing the narrator with protection from the chaos outside. It’s worth mentioning here the song was written during Dylan’s separation and divorce with first wife, Sara Dylan. Also the album is often regarded as his most personal and introspective.

Over the years Dylan has transfigured the song from the studio acoustic folk ballad to other music genres such as an electric, uptempo rock edge arrangement seen in the ’76 version below. This version felt more urgent, almost combative, as if the storm had grown fiercer, and the shelter was harder to find. No two performances were ever quite the same, keeping the song fresh and enigmatic. Over the years, Dylan has modified verses, swapped lines, or emphasized different parts of the lyrics depending on the mood of the performance. Dylan’s chameleon-like approach ensured that Shelter from the Storm remained a living, evolving piece of art rather than a static historical record, much like the rest of his catalogue.

Shelter from the Storm was recorded on September 17, 1974, and released on his 15th studio album, Blood on the Tracks. He recorded five takes for the album with the last one selected for the album. People often cite the song in their top lists of Dylan songs from the 1970’s decade. It sits well into my “50 Greatest Bob Dylan Songs” list. According to his official website, Dylan played the song 376 times between 1976 and 2015. As alluded to above, critics universally hail Blood on the Tracks as one of his finest albums and Shelter From The Storm one of their most beloved songs from it.

[Verse 1]
‘Twas in another lifetime
One of toil and blood
When blackness was a virtue
The road was full of mud
I came in from the wilderness
A creature void of form
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 2]
And if I pass this way again
You can rest assured
I’ll always do my best for her
On that I give my word
In a world of steel-eyed death and men
Who are fighting to be warm
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 3]
Not a word was spoke between us
There was little risk involved
Everything up to that point
Had been left unresolved
Try imagining a place
Where it’s always safe and warm
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 4]
I was burned out from exhaustion
Buried in the hail
Poisoned in the bushes
And blown out on the trail
Hunted like a crocodile
Ravaged in the corn
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 5]
Suddenly I turned around
And she was standing there
With silver bracelets on her wrists
And flowers in her hair
She walked up to me so gracefully
And took my crown of thorns
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 6]
Now there’s a wall between us
Something there’s been lost
I took too much for granted
I got my signals crossed
Just to think that it all began
On an uneventful morn
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 7]
Well, the deputy walks on hard nails
And the preacher rides a mount
But nothing really matters much
It’s doom alone that counts
And the one-eyed undertaker
He blows a futile horn
“Come in,” she said, “I’ll give ya
Shelter from the storm

[Verse 8]
I’ve heard newborn babies wailing
Like a mourning dove
And old men with broken teeth
Stranded without love
Do I understand your question, then
Is it hopeless and forlorn
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 9]
In a little hilltop village
They gambled for my clothes
I bargained for salvation
And she gave me a lethal dose
I offered up my innocence
And I got repaid with scorn
“Come in,” she said, “I’ll give ya
Shelter from the storm”

[Verse 10]
Well, I’m living in a foreign country
But I’m bound to cross the line
Beauty walks a razor’s edge
Someday I’ll make it mine
If I could only turn back the clock
To when God and her were born
“Come in,” she said, “I’ll give ya
Shelter from the storm”

References:
1. Shelter From The Storm – Wikipedia

Tagged with: , ,
Posted in Music

Seventeen Going Under (2021) – Sam Fender

Jeff at Eclectic Music Blogger first got me onto this song here which I failed to recognise upon my publication of this article.

Sam Fender was invited on BBC’s Future Sounds with Annie Mac and said about the song:

I started writing about growing up in Shields, about me and me mom when things weren’t so great….
It’s really hard to process what’s going on at that age, that’s why I’m writing about it now because, to be honest, a lot of the stuff that happened when I was seventeen and eighteen, it was a lot of big moments and it wasn’t the easiest time of my life. It took us to my mid-twenties to kind of process that stuff and be able to actually write about it in a way that’s, you know, enjoyable.

Seventeen Going Under is the title track of English singer-songwriter Sam Fender’s 2021 album. As alluded to above, the song is a no-holds-barred account of the struggles Fender had at 17. I believe the lyrics of Seventeen Going Under is well worth a visit (but reader discretion advised), before you see the official music video at the bottom of this post. The DWP acronym at the end of the song refers to the Department for Work and Pensions.

The song chronicles Fender’s life at 17 when his mother, Shirley was afflicted with fibromyalgia and depressed because she could no longer work after 40 years of service as a nurse. She had become the owner of her apartment at 19 and had never missed a workday. Nevertheless, the Department for Work and Pensions began harassing her with letters and treating her unjustly. Fender was trying to help his mother financially but could not due to his young age. Fender recalled: “That’s when my rose-tinted glasses fell off.”
Wikipedia – Seventeen Going Under (song)

The following information was extracted from the Wikipedia article below:
The song was released on 7 July 2021 as the lead single from his second studio album. It was a sleeper hit, peaking at number three on the UK Singles Chart on 7 January 2022, becoming Fender’s highest-charting career single to date. The record was named Hottest Record of the Year 2021 by BBC Radio 1 listener and voted 16 by triple J Australian radio Triple J listeners. In May 2022, the song won the Ivor Novello Award for Best Song Musically and Lyrically from the British Academy of Songwriters, Composers, and Authors. It received the 2022 Rolling Stone UK Award for Song of the Year Award.

[Verse 1]
I remember the sickness was forever
I remember snuff videos
Cold Septembers, the distances we covered
The fist fights on the beach
The Bizzies round us up
Do it all again next week
An embryonic love
The first time that it scarred
Embarrass yourself for someone
Cryin’ like a child
And the boy who kicked Tom’s head in
Still bugs me now
That’s the thing, it lingers
And claws you when you’re down

[Verse 2]
I was far too scared to hit him
But I would hit him in a heartbeat now
That’s the thing with anger, it begs to stick around
So it can fleece you of your beauty
And leave you spent with nowt to offer
Makes you hurt the ones who love you

[Chorus]
You hurt them like they’re nothin’
(Oh-ooh-oh-oh-oh, oh-oh-oh) x3

[Verse 3]
See, I spent my teens enraged, spirallin’ in silence
And I armed myself with a grin
‘Cause I was always the fuckin’ joker
Buried in their humour amongst the white noise and boys’ boys
Locker room talkin’ lads’ lads
Drenched in cheap drink and snide fags
A mirrored picture of my old man
Oh God, the kid’s a dab hand
Canny chanter, but he looks sad
God, the kid looks so sad
And God, the kid looks so sad

[Bridge]
She said the debt, the debt, the debt
So I thought about shifting gear
And how she wept and wept and wept
Well, luck came and died ’round here
I see my mother, the DWP see a number
She cries on the floor encumbered

[Chorus]

References:
1. Seventeen Going Under (song) – Wikipedia

Tagged with: ,
Posted in Music

Series of Dreams (1989) – Bob Dylan

I own the above single ‘for press release only’ CD. You could do worse considering Series of Dreams is arguably one of Bob Dylan’s greatest ‘non released’ songs. He left this ‘lost masterpiece’ off his critically acclaimed album Oh Mercy album, much to producer Daniel Lanois’ dismay. During a Sound Opinions interview broadcast on Chicago FM radio, Lanois told Chicago Tribune critic Greg Kot that Series of Dreams was his pick for the opening track, but ultimately, the final decision was Dylan’s. Lanois loved that song, Dylan later recalled, “but I didn’t think it fit with the other stuff on the album“.

The song was recorded in 1989 in New Orleans, during a particularly creative ‘comeback’ period for Dylan. It is one of his most enigmatic and evocative songs of surrealistic imagery and to my senses nothing short of astounding. Lanois’ atmospheric production, characterized by its dense soundscapes and echoing effects, perfectly complemented Dylan’s stream-of-consciousness lyrics. Dylan himself described the song as a reflection of the fleeting nature of dreams, where one moment merges into the next without a clear beginning or end. “It’s a series of dreams,” Dylan sings, “Where nothing comes up to the top / Everything stays down where it’s wounded / And comes to a permanent stop.”

Series of Dreams never had a traditional concert inauguration. Unlike many of Dylan’s songs, which debuted live before being recorded, Series of Dreams remained a studio creation for years. It wasn’t until its release on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991 that the song reached the public ear and that is how I first heard it. Dylan has never performed Series of Dreams live. This absence from his set lists only adds to the song’s mystique, making it a hidden gem in Dylan’s vast catalogue.

[Verse 1]
I was thinking of a series of dreams
Where nothing comes up to the top
Everything stays down where it’s wounded
And comes to a permanent stop
Wasn’t thinking of anything specific
Like in a dream when someone wakes up and screams
Nothing too very scientific
Just thinking of a series of dreams

[Verse 2]
Thinking of a series of dreams
Where the time and the tempo fly
And there’s no exit in any direction
‘Cept the one that you can’t see with your eyes
Wasn’t making any great connection
Wasn’t falling for any intricate scheme
Nothing that would pass inspection
I was just thinking of a series of dreams


Dreams where the umbrella is folded
Down into the path you are hurled
And the cards are no good that you’re holding
Unless they’re from another world

[Verse 3]
In one, the surface was frozen
In another, I witnessed a crime
In one, I was running, and in another
All I seemed to be doing was climbing
Wasn’t looking for any special assistance
And not going to any great extremes
I’d already gone the distance
Just thinking of a series of dreams


Dreams where the umbrella is folded
Down into the path you are hurled
And the cards are no good that you’re holding
Unless they’re from another world

[Outro]
I’d already gone the distance
I was just thinking of a series of dreams
Just thinking of a series of dreams
Just thinking of a series of dreams

Dylan released a music video for the song below that consisted almost entirely of archival footage from the mid-1960s through the early 1990s but included a couple of new shots of a hooded-sweatshirt wearing Dylan wandering around an urban area. I’ll include here a story as reported by the Tampa Bay times when Dylan was picked up by a 24-year-old cop in New Jersey a few years ago.

References:
1. Series of Dreams – Wikipedia

Tagged with: , ,
Posted in Music

From Paradise (1993) – Archie Roach

Archie Roach and Ruby Hunter

Australian singer songwriter Archie Roach is a national treasure. He is now at peace with his wife ‘Aunty Ruby’ Hunter who was also his musical partner. “Uncle Archie”, as he was affectionately known to many, was regarded as giving a voice to the stories of many Aboriginal people (Indigenous Australians) and offering comfort and healing in his words and music. Archie’s music has featured here prominently since his music had an enormous impact on my early adulthood and continues to resonate strongly. I was fortunate to have seen him in concert in Melbourne with one of my other favourite Australian singer songwriters David Bridie who produced Archie’s second album in which today’s featured track From Paradise was released.

I have always been moved by Archie’s powerful voice and emotional storytelling. Born in Victoria, Australia, Roach faced numerous challenges in his early life, including being forcibly removed from his family as part of the government’s Stolen Generations policy. Despite these hardships, Roach found solace in music and began honing his craft as a singer and songwriter. His music including today’s song From Paradise is deeply rooted in his Indigenous heritage, with themes of resilience, survival, and the ongoing struggle for justice and recognition for Indigenous Australians. The official music video below of From Paradise is one of the most beautifully shot and poignant Australian song-music videos I have seen.

She was born
In the river land
Born of her mother, into her mother’s hands
She was free, as the river was wild
She was so innocent
Such a beautiful child

Then they took her away
From Paradise
Where everything was beautiful
And very nice

They took her away
Her mother’s tongue
Slapped her around a little bit
To teach her another one

In and out of institutions
What could they do with this child
Where was the neat solution
There was nothing they could do
So they gave her to the street
And she joined all the rest of the hungry and the tired feet

And they took her away
From Paradise
Where everything was beautiful
And very nice

They took her away
Her mother’s tongue
Slapped her around a little bit
To teach her another one

And the XXXXXXX don’t swim here anymore
And the XXXXXXX swim here anymore

She met a boy
Who kind of knew
Some of the things that she was going through

But he was confused
So he ran away
She found him again
And here she is today

And they took her away
From Paradise
Where everything is beautiful
And very nice

They took her away
Her mother’s tongue
Slapped her around a little bit
To teach her another one

Took her away from paradise
Away from paradise
Away….Away….Away from Paradise…

Jamu Dreaming is Archie Roach’s second studio album. The album was released in May 1993 and peaked at number 55 on the ARIA (Australia) Charts. The album was recorded with musical assistance from David Bridie, Tiddas, Paul KellyVika and Linda Bull, Ruby Hunter, Dave Arden and Joe Geia. ‘Jamu’ is the Pitjanjatjara word for grandfather or old one (p. 242, Roach’s autobiography, 2019).

He gave us – and all of Australia – an image of an Aboriginal man, tender and humble. An image long denied us … Through his life, his dedication to Aunty Ruby, his devotion to his sons, his work with disengaged youth and his profound love for his people, Uncle Archie gave the nation an image of an Aboriginal man seldom found in the national psyche …
–  Euahlayi scholar Bhiamie Williamson

References:
1. Archie Roach – Wikipedia
2. Jamu Dreaming – Wikipedia

Tagged with: , , ,
Posted in Music

Serenade No. 10 For Winds; K. 361; 3rd Movement (1781) – Wolfgang Amadeus Mozart

Mozart, c. 1781, detail from portrait by Johann Nepomuk della Croce

“On the page it looked nothing. The beginning simple, almost comic. Just a pulse. Like a rusty squeeze box. And then suddenly, high above it. An oboe. A single note, hanging there, unwavering, until a clarinet took it over, sweetened it to a phrase of such delight.”
Antonio Salieri (Monologue from the movie Amadeus)

Anyone well acquainted with the movie Amadeus is likely to remember the scene in which today’s music piece Serenade No. 10 For Winds features. In the 1984 film Antonio Salieri’s first encounter with Mozart is at a performance of this work. Salieri has not been impressed with Mozart’s boorish behavior before the performance, but as he looks at the music on the page, he describes the beauty and delight of the solo oboe’s entry soon thereafter followed by the clarinet’s line (in the third movement), leading him to say, “This was no composition by a performing monkey. This was a music I’d never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the voice of God.” It is at this point that Salieri first questions how God could choose a vulgar man like Mozart as his voice; this question becomes a primary theme of the film.

The Serenade No. 10 For Winds consists of 7 movements, but we will only look at the third movement Adagio. Andante. In case people like me were wondering what these Italian words Adagio and Andante mean in Classical music: they provide guidance on the pace and character of the music. Two commonly used tempo indications are Adagio and Andante. Adagio refers to a slow tempo, often characterized by a sense of calmness, serenity, and contemplation. Andante, which translates to “walking pace,” indicates a slightly faster tempo than Adagio‘. So ‘Adagio. Andante‘ combined as seen in Mozart’s 3rd movement would suggest a slow and contemplative pace with a slight increase in movement.

Most of the following information was lifted from the Wikipedia reference below:
The serenade was scored for thirteen instruments: The work is scored for 2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns and double bass. The piece was probably composed in 1781 or 1782 and is often known by the subtitle Gran Partita (Great Game). The autograph of this work contains 24 leaves of paper-type 57. Four other compositions that used this paper can be securely dated to 1781.

Described by music critic Noël Goodwin who specialised in classical music as “virtually an ‘operatic’ ensemble of passionate feeling and sensuous warmth“, the third movement, marked Adagio, is in E flat major. A syncopated pulse occurs almost throughout the movement while solo lines alternate between the solo oboe, clarinet, and basset horn.

Reference:
1. Serenade No. 10 (Mozart) – Wikipedia

Tagged with: , , ,
Posted in Music

Follow Blog via Email

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 753 other subscribers

← Back

Thank you for your response. ✨