A Certain Romance (2006) – Arctic Monkeys

Kicking things off today are British indie rock band Arctic Monkeys, founded in Sheffield, England in 2002 by three 16-year-old friends: Alex Turner (lead vocals, guitar), Andy Nicholson (bass) and Matt Helders (drums, backing vocals), together with Jamie Cook (guitar, keyboards). After starting out as an instrumental band, Turner became their lead singer and frontman. Arctic Monkeys are regarded as one of the first bands who effectively used social media to boost their popularity. They also hold the distinction to have released the fastest-selling debut album in UK chart history, Whatever People Say I Am, That’s What I’m Not. Off that January 2006 album, here’s the great closer A Certain Romance, credited to all members of the band.
Chris & Max Pick …songs from 2006 – Christian’s Music Musings

A Certain Romance is a fun and brash alternative song with elements of punk and grunge. I first heard it at blogger friend Christian’s Music Musings web site. The song contains some cool wordplay and language-craftings as it starts out scorning local townies then appears to absolve them at the end of the song. At first he is scornful, though he eventually feels sympathy and sorrow for them, and accepts that “there isn’t no romance around there.” A Certain Romance is akin to music one might expect to hear on a This is England or Billy Elliot soundtrack. Also front man Alex Turner’s voice reminds me of an English version of American Green Day’s Billie Joe Armstrong. What’s not to like about it? – so eclectic and versatile in its sound and production. A Certain Romance was not released as a standalone single.

According to Wikipedia the song was conceived by Turner in his teens, and follows his observation of the activities and romance—and lack thereof—among youth. A Certain Romance was acclaimed by music critics, who praised its composition, lyrics, and themes. It is considered the standout track of the album and one of the band’s best songs. In an interview with NME, Alex Turner said that when the song was first recorded, “we were all like, “Woah, woah, woah…What have we done here?’ Pushing the music that far out from what we’d done before initially felt contentious, to say the least.” He later described the song as a showcase of the band having ambitions “beyond what we once thought we were capable of”.

[Intro]
(Shall I keep rolling?)

[Verse 1]
Well, oh, they might wear classic Reeboks
Or knackered Converse, or tracky bottoms tucked in socks
But all of that’s what the point is not
The point’s that there in’t no romance around there
And there’s the truth that they can’t see
They’d probably like to throw a punch at me
And if you could only see ’em then you would agree
Agree that there in’t no romance around there

[Chorus]
You know? Oh, it’s a funny thing, you know
We’ll tell ’em if you like, we’ll tell ’em all tonight
They’ll never listen, because their minds are made up
And course it’s all okay to carry on that way

[Verse 2]
‘Cause over there there’s broken bones
There’s only music so that there’s new ringtones
And it don’t take no Sherlock Holmes
To see it’s a little different around here
Don’t get me wrong though, there’s boys in bands
And kids who like to scrap with pool cues in their hands
And just ’cause he’s had a couple of cans
He thinks it’s all right to act like a dickhead

[Chorus]

[Bridge]
But I said no, oh no
Well, you won’t get me to go
Not anywhere, not anywhere
No, I won’t go, oh, no, no

[Instrumental Break]

[Verse 3]
But over there, there’s friends of mine
What can I say? I’ve known ’em for a long long time
And they might overstep the line
But you just cannot get angry in the same way
No, not in the same way
Said, not in the same way
Oh no, oh no, no

[Instrumental Outro]

Reference:
1. A Certain Romance – Wikipedia

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Big Iron – Marty Robbins (1959) (Josh Turner Guitar Cover feat. Carson McKee)

I have been listening to Josh Turner’s music (pictured right above) on his You tube channel for years. His take 2 of Wagon Wheel, a song originally sketched by Bob Dylan was the clincher for me and will be discussed here when we reach the ‘W’s in the alphabetical listing.
Josh and long time collaborator Carson McKee’s musicianship and harmonies in their cover version of Marty Robbin’s Big Iron – today’s featured track is something to behold. And just like in Wagon Wheel they ooze this great chemistry together.

According to Josh Turner’s ‘About‘ page:

Turner is a multi-instrumentalist (acoustic guitar and electric guitar), singer, songwriter, and producer based in Brooklyn, New York. Joshua Lee Turner posts eclectic cover songs and original music since he started the channel in 2007 at age 15. His guitar covers range from rock, R&B, bluegrass, folk, jazz, classical, pop, indie, blues, etc.

Josh now tours internationally in support of his own original music, as well as with long-time collaborator Carson McKee, as the folk duo The Other Favorites. In 2020, Josh released Public Life, his second full-length album of original music.

Josh and Carson’s cover version of Big Iron, a song written by Marty Robbins in 1959 is a country ballad about an unnamed Arizona Ranger who has a fateful duel with the notorious outlaw Texas Red. It’s like a whole western movie (ala High Noon) in one song.

While the encounter itself is likely fiction, the titular “Big Iron” is a real gun, based on one that Robbins saw in a gun shop in Hollywood. It was a one-off custom piece, described as a Great Western copy of the famed Colt Single Action army pistol featuring several unique features, including the backstrap from a Colt 1860 Army and a barrel made from a sawed-down Marlin Rifle.

In the 21st century, the song has once again become popular due to its use in the 2010 post apocalypse/Western RPG Fallout: New Vegas.

[Verse 1]
To the town of Agua Fria
Rode a stranger one fine day
Hardly spoke to folks around him
Didn’t have too much to say
No one dared to ask his business
No one dared to make a slip
The stranger there among them
Had a big iron on his hip
Big iron on his hip

[Verse 2]
It was early in the morning
When he rode into the town
He came riding from the south side
Slowly looking all around
“He’s an outlaw loose and running”
Came the whisper from each lip
“And he’s here to do some business
With the big iron on his hip”
Big iron on his hip

[Verse 3]
In this town there lived an outlaw
By the name of Texas Red
Many men had tried to take him
And that many men were dead
He was vicious and a killer
Though a youth of twenty-four
And the notches on his pistol
Numbered one and nineteen more
One and nineteen more

[Verse 4]
Now the stranger started talking
Made it plain to folks around
Was an Arizona Ranger
Wouldn’t be too long in town
He came here to take an outlaw
Back alive, or maybe dead
And he said it didn’t matter
He was after Texas Red
After Texas Red

[Verse 5]
Wasn’t long before the story
Was relayed to Texas Red
But the outlaw didn’t worry
Men that tried before were dead
Twenty men had tried to take him
Twenty men had made a slip
Twenty-one would be the Ranger
With the big iron on his hip
Big iron on his hip

[Verse 6]
The morning passed so quickly
It was time for them to meet
It was twenty past eleven
When they walked out in the street
Folks were watching from the windows
Everybody held their breath
They knew this handsome Ranger
Was about to meet his death
‘Bout to meet his death

[Verse 7]
There was forty feet between them
When they stopped to make their play
And the swiftness of the Ranger
Is still talked about today
Texas Red had not cleared leather
‘Fore a bullet fairly ripped
And the Ranger’s aim was deadly
With the big iron on his hip
Big iron on his hip

[Verse 8]
It was over in a moment
And the folks had gathered round
There before them lay the body
Of the outlaw on the ground
Oh, he might have went on livin’
But he made one fatal slip
When he tried to match the Ranger
With the big iron on his hip
Big iron on his hip

[Outro]
Big iron, big iron
When he tried to match the Ranger
With the big iron on his hip
Big iron on his hip

References:
1. Josh Turner – You Tube Channel
2. Big Iron – Wikipedia

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Saturday Nights Alright For Fighting (1973) – Elton John

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

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

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

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Satellite of Love (1972) – Lou Reed

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

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Sarah Jane (1973) – Bob Dylan

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

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Ramada Inn (2012) – Neil Young with Crazy Horse

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

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Sara (1976) – Bob Dylan

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

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Gods & Monsters (2012) – Lana Del Rey

(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

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Ghosteen (2019) – Nick Cave

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

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