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

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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

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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

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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

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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

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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

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Señor (Tales Of Yankee Power) 1978 – Bob Dylan

Señor is the 5th song to be presented here from my favourite Bob Dylan album Street-Legal. When I first heard this song many moons ago I wasn’t crazy about it and I could say the same with other songs from the record, but over the years and subsequent listens my musical appreciation has only amplified. He paints such vivid imagery with mythic language and the music acts like a wagon taking it’s load to an unspecified definition and the ‘Señor‘ might be the conductor or guard (or his conscience). Also the song juxtaposes the “Old West” and the Bible.
One could compare Señor to Dylan’s earlier south-of-the-border adventure songs Just Like Tom Thumb’s Blues from 1965 and Romance in Durango from 1976. Also the atmosphere of the song is Spanish or Mexican, without lapsing into caricature.

Señor is the song from Street-Legal that Dylan has played the most in live performance (265 times in concert between 1978 and 2011), and the one that has been covered the most by other artists including Jerry Garcia and Willie Nelson.
According to the Wikipédia article below Dylan has told various contradictory stories of the origen of the song. One he told in a live performance in 1978 was how “he was on a train going from Mexico to San Diego and how a strange old man got on the train, and Dylan felt the urge to talk to him. Apparently, the story told in the concerts started off fairly simply and gradually expanded adding the notion that when Dylan finally did want to talk to the man, he had gone“. Rolling Stone quoted Dylan as describing the man on the train as “150 years old… Both his eyes were burning, and there was smoke coming out of his nostrils“.
There is another obscure account in the reference below inspired by actor Harry Dean Stanton with whom he had starred in Sam Peckinpah’s 1973 film Pat Garrett and Billy the Kid.

Señor, señor, can you tell me where we’re headin’
Lincoln County Road or Armageddon
Seems like I been down this way before
Is there any truth in that, señor

Señor, señor, do you know where she’s hidin’?
How long are we gonna be riding?
How long must I keep my eyes glued to the door?
Will there be any comfort there, señor?

There’s a wicked wind still blowing on that upper deck
And there’s an iron cross still hanging from around her neck
There’s a marching band still playing in that vacant lot
Where she held me in her arms one time and said
“Forget me not”

Señor, señor, I can see that painted wagon
Smell the tail of the dragon
I can’t stand the suspense here anymore
Can you tell me who to contact here, señor?

Well, the last thing I remember before I stripped and kneeled
Was that trainload of fools bogged down in a magnetic field
And a gypsy with a broken flag and flashing ring
Said “Son, this ain’t a dream no more, it’s the real thing”

[Verse 5]
Señor, señor, you know their hearts are hard as leather
Give me a minute, let me get it together
I just gotta pick myself up off the floor
I’m ready when you are, señor

[Verse 6]
Señor, señor, let’s overturn these tables
And disconnect these cables
This place don’t make sense to me no more
Can you tell me what we’re waiting for, señor

References:
1. Señor (Tales of Yankee Power) – Wikipedia

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Promises (1978) – Eric Clapton

I was reminded of this wonderful country song by my friend Max at his PowerPop blog.

I had this single when I was a kid that was passed down to me from someone. This was before I knew about Cream, Yardbirds, or anything else. It was probably my first impression of Eric Clapton. When I did hear Cream it was a bit of a shock.

I believe my first listen of Clapton was his live version of Tears in Heaven shown on Rage – an all-night Australian music video program that has aired since 1987. Watching that show’s top 40 countdown became an early morning weekend ritual before my brother and I went out to play our respective sports. I first heard today’s featured track Promises in my late teens at the Academy. Promises was written by Richard Feldman and Roger Linn and recorded by British singer and guitarist Eric Clapton in 1978 and released on his studio album Backless.

I have always enjoyed this laid-back, country-flavored tune by Eric. The melody is catchy yet simple, with a chorus that is instantly memorable. This “swaying, melodic rocker” sometimes sounds like Clapton’s earlier hit Lay Down Sally. The production is clean and polished, typical of late 1970s recordings.
He embodied a smooth, relaxed style during this period, blending elements of rock, country, and pop into a sound that is both mellow and melodic. He did develop a good friendship with the American country artist Don Williams who had strong influence over a variety of performers of different genres including Clapton.

Promises deals with themes of love, commitment, and the bittersweet realisation of a relationship that is unlikely to be restored. The lyrics are reflective and somewhat melancholic, but Clapton maintains a sense of resignation rather than despair.

[Verse 1]
I don’t care if you never come home
I don’t mind if you just keep on
Rowing away on a distant sea
Because I don’t love you and you don’t love me

[Verse 2]
You cause a commotion when you come to town
You give them a smile and they melt
Having lovers and friends is all good and fine
But I don’t like yours and you don’t like mine

[Verse 3]
I don’t care what you do at night
Oh, and I don’t care how you get your delights
I will leave you alone, I will just let it be
I don’t love you and you don’t love me

[Chorus]
I got a problem. Can you relate?
I got a woman calling love hate
We made a vow we’d always be friends
How could we know that promises end?

[Verse 4]
I tried to love you for years upon years
You refuse to take me for real
It’s time you saw what I want you to see
And I would still love you, if you’d just love me

[Chorus]

The release was successful in the United States reaching No. 9 on the Billboard chart. In Australia, the song peaked at No. 26, although in the United Kingdom it only made No. 37.  

References:
1. Promises (Eric Clapton song) – Wikipedia

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Night Heights (2023) – Jain

Full Moon. The card of all passions and desires. An extreme temptation to which one surrenders to. A state of passion stronger than ourselves
– Jain

Night Heights is a luscious and tempting dance number from the multicultural pop artist Jain. Born as Jeanne Louise Galice in Toulouse, France, with roots in Madagascar, Jain relocated to Dubai at the age of 9 and then onto the Congo. Post graduation she returned to Paris to study the arts. The French pop singer is known for her eclectic blend of world music influences.

Night Heights is not just about the enigmatic nature of the night and the allure of the full moon, but it is a tribute of sorts to the the glamour and enticement of the night-life in Paris. Jain becomes hypnotically swept up by the atmosphere and music and during the occasion finds herself desirous towards a certain someone in the crowd. I usually post the audio track of songs in lieu of the official video release, but the advanced filming techniques and creativity prowess in her music video below enhanced my appreciation of the song. I find Night Heights a sumptuous musical piece whether I’m listening to it in the quiet of the night or over the speakers at the gym.

Night Heights was released on Jain’s third studio album The Fool. After the success of her first two albums, Jain took a break in 2019 and decided to change her influences by going more towards the music she listens to, marked by albums from the 1970s. For the writing of the album, Jain isolated herself in a fisherman’s hut in Marseille with a guitar. Each song is associated with a card from the tarot from Marseille. It is said the songs are more intimate and personal than in previous albums.
On her trippy and innovative web site she describes the Fool as ‘this tightrope walker who walks towards his future. With each of his steps there is a risk and a balance. It is the first and last card of the game the one that links by just a thread, the whole story‘.

Paris, it’s raining, On a Saturday night,
But it cannot keep me away From the sound

Holding my breath,
’Cause my heart beats too loud
Flashing lights
Go dancing on your skin
Facing my desire, Caught me by surprise Night dew falling on you,
As the moon is on the rise
Maybe I’m dreaming, Maybe I’m crazy,
But I think I’m seeing
What you and I can be

Baby all night… I’m so high
Baby all night… I’m lost in your eyes
Baby all night… I’m so high Baby all night…
I’m lost in your eyes


Can you feel the love, inside of me?
Can you feel the love, inside of me?
Can you feel the love, inside of me?
Can you feel the love, inside of me?


I feel your lips,
Tasting all my tears,
Strumming with your lover’s hands.
Time is insomniac
And my demons are back,
Every time I meet your gaze


Facing my desire,
I see it in your eyes,
Night dew falling on you,
As the moon is on the rise

References:
1. Jain (singer) – Wikipedia
2. The Fool (album de Jain) – Wikipedia

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Liverpool 8 (2008) – Ringo Star

A mural of Ringo Starr at Empress pub in Toxteth, streets away from where the Beatles drummer grew up in Liverpool – BBC

Liverpool 8 is the second song from Ringo Starr (post Beatles) to be presented here after his previous entry Photograph. Rest assured it won’t be his last. I have made it no secret that my musical appreciation leans more towards the Beatles output in their solo careers than when they were together. How many people are aware that Ringo Starr has released 20 studio albums?
Today’s featured track is the title song from Ringo’s 15th release in 2008. Lyrically Liverpool 8 seems a cursory nod to Ringo’s hometown Liverpool with emphasis on his time with the Beatles but as the chorus manifests and the violins and emphatic guitar kick-in with the homey charm in Starr’s voice, this nostalgic song transforms into a rousing and emblematic homage. I can picture patrons shouting Liverpool 8 out at the top of their lungs down at a local tavern somewhere in Liverpool. I like to think John and George would be proud.

The title refers to the postal district of the Toxteth area of Liverpool in which Starr was born (see image above). The single was initially produced by Starr and Mark Hudson, a long-time collaborator of Starr. When Hudson was fired by the former Beatle, Dave Stewart (Eurythmics) was hired to help finish both the single and the studio album. The title track was released on CD and digital download as the first single from the album on 7 January 2008. Liverpool 8 entered the UK Album Chart at number 91, and reached a peak of number 94 in the US. Liverpool 8 has a 59 per cent “mixed or average” rating from Metacritic. Billboard gave the album a positive review, calling it “full of nostalgia for the good ol’ days“.

[Verse 1]
I was a sailor first, I sailed the sea
Then I got a job in a factory
Played Butlin’s Camp with my friend Rory
It was good for him, it was great for me

[Chorus]
Liverpool I left you, said goodbye to Madryn Street
I always followed my heart and I never missed a beat
Destiny was calling, I just couldn’t stick around
Liverpool I left you, but I never let you down

[Verse 2]
Went to Hamburg, the red lights were on
With George and Paul, and my friend John
We rocked all night, we all looked tough
We didn’t have much, but we had enough

[Chorus]

[Verse 3]
In the U.S.A. when we played Shea
We were number one and it was fun
When I look back, it sure was cool
For those four boys from Liverpool

[Chorus]

[Outro]

References:
1. Liverpool 8 (song) – Wikipedia
2. Liverpool 8 – Wikipedia

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Posted in Music

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