One Country (1990) – Midnight Oil

One Country by Australian rock band Midnight Oil is the ultimate call to reconciliation – “one country, one…”. It’s true patriotism, without the ‘ranting and raving’. This is the second song presented here by ‘the Oils‘ after their first entry Beds are Burning was posted back in 2019.

Allow me to digress...So it has taken 4 years to go from the B's to the O's in the alphabetical song order of the music library project (approximately 720 songs). Currently 610 songs still remain - not including unforeseen songs which will be added concurrently. 

Now back to the Oils and One Country…. (and most of the following is sourced from the excellent first reference below – Media Loper):
After having their biggest world-wide album ever with Diesel and Dust, the Oils took a couple of years off and followed it up with 1990’s Blue Sky Mining, which was nearly as good, spawning a couple of major radio songs in “Blue Sky Mine” and “Forgotten Years”. As good as those songs were, my favourite song on the album was today’s featured track the slow-burning One Country” which I guess is the closest Midnight Oil ever got to doing a U2-style anthem such as yesterday’s song entry – One.

Who’d like to change the world?
Who wants to shoot the curl?
Who wants to work for bread?
Who wants to get ahead?

Who hands out equal rights?
Who starts and ends that fight?
And not rant and rave
Or end up a slave

Who can make hard-won gains?
Fall, like the summer rain?
Every man must be
What his life can be
So don’t, call, me
The tune I will walk away

At first, One Country is little more than Peter Garrett singing — uncharacteristically quietly — over an acoustic guitar. And slowly, ever so slowly, One Country builds and builds, until about halfway through, drummer Robert Hirst switches into a marital beat, guitarists Jim Moginie & Martin Rotsey switch to their electric guitars, and then, unexpectedly, bassist Bones Hillman sings: Onnnnnnnnnnne country (x 4)

It’s startling, hearing someone other than Peter Garrett take a solo vocal performance on a Midnight Oil track, and at first Hillman sounds tentative, like he shouldn’t really be singing by himself, but, of course Garrett isn’t going to leave him hanging, so while Hillman continues to sing, Garrett counterpoints:

Who wants to sit around, turn it up turn it down
Only a man can be, what his life can be
One vision, one people, one landmass
We are defenseless, we have a lifeline

And it is utterly thrilling and absolutely gorgeous, even as they pile on the guitars and strings towards an utterly massive finale, marching on into the distance singing “country onnnnnnnne country” until the end of time.

References:
1. Certain Songs #1138: Midnight Oil – “One Country” – Media Loper
2. Blue Sky Mining – Wikipedia
3. Midnight Oil – Wikipedia
4. One Country – Song Meanings

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One (1991) – U2

[Bridge]
You say love is a temple, love a higher law
Love is a temple, love the higher law
You ask me to enter but then you make me crawl
And I can’t be holding on to what you got
When all you got is hurt

There are so few Bridges in songs which you could argue supersede the Verses and Chorus, because they are otherwise known as ‘fillers’, however I believe today’s track is an exception to the rule.

In September’s post of U2’s All I Want is You, I wrote how my favourite song by the band is One and that post was forthcoming. Well the day has arrived. Ironically the song came when the group were on the verge of breaking up over the direction of U2’s sound and the quality of their material. Feeling trapped and exhausted by their own success at the close of the 1980s, U2 took a leaf out of David Bowie’s book and looked for the future in Berlin, at Hansa Studios. 

During the album Achtung Baby’s recording sessions they achieved a breakthrough with the improvisation of One; the song was written after the band members were inspired by a chord progression that guitarist the Edge was playing in the studio. The lyrics, written by lead singer Bono, were inspired by the band members’ fractured relationships. However, One wasn’t finished until the very last night of the album sessions, 11 months after that first improvisation in Berlin.

[Verse 1]
Is it getting better
Or do you feel the same?
Will it make it easier on you
Now you got someone to blame?

[Chorus]
You say one love, one life
When it’s one need in the night
One love, we get to share it
Leaves you, baby, if you don’t care for it

[Verse 2]
Did I disappoint you
Or leave a bad taste in your mouth?
You act like you never had love
And you want me to go without

[Chorus]
Well, it’s too late tonight
To drag the past out into the light
We’re one, but we’re not the same
We get to carry each other, carry each other
One

The following is sourced from the BBC Culture One article below:

“The concept of oneness is of course an impossible ask,” Bono says. “Maybe the song works because it doesn’t call for unity. It presents us as being bound to others whether we like it or not. ‘We get to carry each other’ – not ‘We got to carry each other’. ‘We’re one but we’re not the same’ allows room for all the differences that get through the door.”

One raises the fundamental question of whether a song’s meaning is fixed when it is written and recorded, or whether, provided it is flexible enough, it can continue to acquire new resonances indefinitely. Who gets to say what a song really means? One is so powerful because of, not despite, its insoluble ambiguity. The rolling beauty of the music means that it is both angry and wounding and warm and healing. 

“If I was to pick one song which encapsulates everything about who and what we are, it would have to be One,” drummer Larry Mullen Jr once told me. “Every time I hear it or play it, it connects.”

Reference:
1. One (U2 song) – Wikipedia
2. Why U2’s One is the ultimate anthem – BBC Culture

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One (1988) – Metallica

Generally, Heavy metal music hasn’t enticed my listening senses like other genres of music. But the song One by Metallica is a rare exception because of the masterful playing, the raw power and intensity of the sound and confounding lyrical imagery. It’s a musical masterpiece. I have listened to other Metallica music and saw their 2004 documentary Some Kind of Monster, but as far as my musical appreciation goes (apart from One) – ‘nothing else matters‘.

One was released as the third and final single from the band’s fourth studio album, …And Justice for All. Written by band members James Hetfield and Lars Ulrich, the song portrays a World War I soldier who is severely wounded—arms, legs and jaw blown off by a landmine, blind and unable to speak or move—begging God to take his life. Where this song supersedes other music is how it conveys this misery by gradually getting more heavy and distorted until the “machine gun” guitar build up (played alongside double bass drums). The song starts off in a soft melodic setting, but it develops through multiple sections into heavier and faster speed metal sounds.

[Verse 1]
I can’t remember anything
Can’t tell if this is true or a dream
Deep down inside, I feel to scream
This terrible silence stops me
Now that the war is through with me
I’m waking up, I cannot see
That there’s not much left of me
Nothing is real but pain now

[Refrain]
Hold my breath as I wish for death
Oh, please, God, wake me

[Verse 2]
Back in the womb, it’s much too real
In pumps life that I must feel
But can’t look forward to reveal
Look to the time when I’ll live
Fed through the tube that sticks in me
Just like a wartime novelty
Tied to machines that make me be
Cut this life off from me

[Refrain]
Hold my breath as I wish for death
Oh, please, God, wake me

[Instrumental Break]

[Chorus]
Now the world is gone, I’m just one
Oh, God, help me
Hold my breath as I wish for death
Oh, please, God, help me

[Instrumental Break]

[Bridge]
Darkness, imprisoning me
All that I see, absolute horror
I cannot live, I cannot die
Trapped in myself, body my holding cell
Landmine, has taken my sight
Taken my speech, taken my hearing
Taken my arms, taken my legs
Taken my soul, left me with life in Hell

[Instrumental Outro]
[Guitar Solo]

Metallica performed One for the 31st Annual Grammy Awards show broadcast from Los Angeles in 1989. The next year, the song won a Grammy Award for Best Metal Performance, the first ever to win in that category. In March 2023, Rolling Stone ranked “One” at number 11 on their “100 Greatest Heavy Metal Songs of All Time” list. The song is one of the band’s most popular pieces and has remained a staple at live shows since the release of the album, and is the most performed song from …And Justice for All.

Reference:
1. One (Metallica song) – Wikipedia

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On the Turning Away (1987) – Pink Floyd

On the Turning Away is the second song to feature here from Pink Floyd’s 1987 record A Momentary Lapse of Reason. Their previous entry was Learning to Fly – atmospheric rock at its best. Although described as a protest song released after the departure of Roger Waters, On the Turning Away was symbolic and prognostic of significant world events which would take place at the end of the 80’s and turn of the 90’s. It was also the predecesor of this European ‘change’ music reflecting the iron curtain and Soviet Union collapse (see Winds of Change by the Scorpions).

[Verse 1]
On the turning away
From the pale and downtrodden
And the words they say
Which we won’t understand
“Don’t accept that what’s happening
Is just a case of all the suffering
Or you’ll find that you’re joining in
The turning away”

[Verse 2]
It’s a sin that somehow
Light is changing to shadow
And casting its shroud
Over all, we have known
Unaware how the ranks have grown
Driven on by a heart of stone
We could find that we’re all alone
In the dream of the proud

The song was a staple of live shows from the 1987–89 world tours in support of A Momentary Lapse of Reason and was one of the songs in rotation during the 1994 tour in support of The Division Bell. Released as the second single from the album, it reached number one on the Billboard Album Rock Tracks chart in early 1988.

A Momentary Lapse of Reason is the thirteenth studio album by Pink Floyd. It was recorded primarily on guitarist David Gilmour’s converted houseboat, Astoria. In the recording process, Gilmour experimented with songwriters but settled on Anthony Moore, who was credited as co-writer of Learning to Fly and On the Turning Away. Gilmour later said that the project had been difficult without Waters.

References:
1. On the Turning Away – Wikipedia
2. A Momentary Lapse of Reason – Wikipedia

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On the Level (2016) – Leonard Cohen

Cohen’s voice is front and centre on his 14th and final album You Want It Darker released on October 21, 2016, 17 days before his passing. Musically, the album is “a little bit more sparse and acoustic” compared to his other albums. On the Level is a collected and sedate track about forgiving oneself despite the feeling of regret. Like anyone of his age, Cohen counts the losses as a matter of routine. Moving on has it’s costs and opportunity costs. Leaving you to lose and win. Settling sometimes let’s us move on and simply survive – however it’s never the same going forward.

The New Yorker article states below: Cohen’s songs are death-haunted, but then they have been since his earliest verses. But, despite his diminished health, Cohen remains as clear-minded and hardworking as ever, soldierly in his habits. He gets up well before dawn and writes. In the small, spare living room where we sat, there were a couple of acoustic guitars leaning against the wall, a keyboard synthesizer, two laptops, a sophisticated microphone for voice recording. 

Due to fractures of the spine, You Want It Darker was recorded in the living room of Leonard Cohen’s home in Mid-Wilshire, Los Angeles and then sent by e-mail to his musical collaborators. His son, Adam Cohen recalled that “occasionally, in bouts of joy, he would even, through his pain, stand up in front of the speakers, and we’d repeat a song over and over like teenagers“.

[Verse 1]
I knew that it was wrong
I didn’t have a doubt
I was dying to get back home
And you were starting out
I said I best be moving on
You said we have all day
You smiled at me like I was young
It took my breath away

[Pre-Chorus]
Your crazy fragrance all around
Your secrets all in view
My lost, my lost was saying found
My don’t was saying do

[Chorus]
Let’s keep it on the level
When I walked away from you
I turned my back on the devil
Turned my back on the angel, too

In Canada, You Want It Darker debuted atop the album charts, with 19,400 in traditional sales. The album occupied the top position for three consecutive weeks and sold 106,000 units by the end of the year in Canada. In the United States, You Want It Darker debuted at number 10 on the Billboard 200 with 25,000 units, 24,000 of which were pure album sales. It is Cohen’s second American top 10 album.

“In a certain sense, this particular predicament is filled with many fewer distractions than other times in my life and actually enables me to work with a little more concentration and continuity than when I had duties of making a living, being a husband, being a father,” he said. “Those distractions are radically diminished at this point. The only thing that mitigates against full production is just the condition of my body.

For some odd reason,” he went on, “I have all my marbles, so far. I have many resources, some cultivated on a personal level, but circumstantial, too: my daughter and her children live downstairs, and my son lives two blocks down the street. So I am extremely blessed. I have an assistant who is devoted and skillful. I have a friend like Bob and another friend or two who make my life very rich. So in a certain sense I’ve never had it better. . . . At a certain point, if you still have your marbles and are not faced with serious financial challenges, you have a chance to put your house in order. It’s a cliché, but it’s underestimated as an analgesic on all levels. Putting your house in order, if you can do it, is one of the most comforting activities, and the benefits of it are incalculable.”

References:
1. You Want It Darker – Wikipedia
2. Leonard Cohen Makes It Darker – The New Yorker

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On Earth as it is in Heaven, The Falls & Gabriel’s Oboe (The Mission,1986) – Ennio Morricone

Our life, our life, our life, our life, so they cry.
Our life, our life, our life, our life, they cry like this.
Punishment, punishment, our strength, our punishment, cry out like this
Punishment Punishment Our Strength Our Punishment So So So So Cry

The film The Mission featured here back in September. It is a British period drama film about the experiences of a Jesuit missionary in 18th-century South America. In the comments section of that post a fellow blogger Bernie from Reely Bernie who is an instructor of music at University mentioned the following:

Ennio Morricone’s best. The motif is so soul-reaching that it became my favourite part of the movie. I play it often as a piano transcription at weddings. A great tribute movie to Jesuits as well. They never get a fair shake.

I realised from our conversation I was missing some of the soundtrack’s better tracks including On Earth as it is in Heaven, Falls and Gabriel Oboe which I have since listened to and added as well. The Italian song Nella Fantasia (“In My Fantasy”) is based on the theme “Gabriel’s Oboe” and has been recorded by multiple artists.

The Mission soundtrack combines liturgical chorales, native drumming, and Spanish-influenced guitars, often in the same track, in an attempt to capture the varying cultures depicted in the film.

Interesting Trivia:

Morricone’s score for The Mission did not win the Oscar for Best Original Score, losing to Herbie Hancock’s Round Midnight. The award is considered one of the most controversial in that category, because it beat out James Horner’s score for Aliens, Jerry Goldsmith’s score for Hoosiers and that of Ennio Morricone for The Mission. In his review of the score to Hoosiers, Christian Clemmensen of Filmtracks.com stated: ‘The awarding of the Original Score Oscar for 1986 to Herbie Hancock for Round Midnight is considered one of the greatest of the many injustices that have befallen nominees for that category. Ennio Morricone and, to a lesser extent, James Horner were worthy of recognition that year, though Goldsmith’s Hoosiers stands in a class of its own because of its immense impact on the picture.’ Morricone, who did not win a competitive Oscar until 2015 (for Quentin Tarantino’s The Hateful Eight), said in an interview: ‘I definitely felt that I should have won for The Mission, especially when you consider that the Oscar-winner that year was Round Midnight, which was not an original score. It had a very good arrangement by Herbie Hancock, but it used existing pieces. So there could be no comparison with The Mission. There was a theft!’. As a result, the music branch of the Academy decided to “tighten up the rules” so that “Scores diluted by the use of tracked (inserted music not written by the composer) or pre-existing music” would no longer be eligible for award nomination.

References:
1. The Mission (soundtrack) – Wikipedia

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Blood Wolf Moon (2022) – Vulture Party

Blood Wolf Moon is a contemporary take on European werewolf folklore where, through isolation and lack of human connection, people were labelled as outcasts, leading to their basic need for love not being met. Our theme for the song and music video is a werewolf searching for human contact and finding love through music and dance. Despite the subject matter, the tune is upbeat and buoyant, influenced in part by European dance and pop.

Like yesterday’s post Baby Blue brought to my attention by Max at PowerPop today’s featured track Blood Wolf Moon is another song brought to you from another music blogger Jeff at Eclectic Music Lover. He wrote:

Vulture Party is a Scottish three-piece who, in their own words, play “disquieting Alt Pop for the socially conscious“. Based in Falkirk, a smallish city located roughly halfway between Glasgow and Edinburgh, the band consists of Louise Ward, David King and Dickson Telfer. Having both a male and female vocalist deliver their thought-provoking lyrics also gives their already fascinating sound even greater nuance and depth.

I’ll hand it over to Jeff at Eclectic Music Lover:

They released their debut single “New Humans” in 2019, followed a few months later with “Sun Dance”, then dropped their eponymous debut album Vulture Party in April 2020, just as the pandemic turned the world upside down and brought everything to a crashing halt. Undeterred, they began writing and recording songs for their second album Archipelago, and in July 2021, they released “Afterlife”, the first of a series of singles to be included on Archipelago. They followed up with “Iso Disco” this past January, and now return with “Blood Wolf Moon“, the third single off the forthcoming album, to be released later this summer on the not-for-profit independent record label Last Night From Glasgow.

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Baby Blue (1971) – Badfinger

If Bob Dylan’s ‘It’s All Over Now Baby Blue‘ had been transfigured into a rock song, then today’s featured Baby Blue is perhaps what it would have sounded like. Just listen to how Pete Ham sings the line ‘The special love I have for you‘ – that melody seems straight out of Dylan’s song, even when he sings ‘My baby blue‘. Bob Dylan referred to transfiguration in his recollection of his infamous 1966 Motorcycle crash in this Rolling Stone article:

Edited 20/7/2025: Dylan’s song was in fact turned into a rock song in an early previously unreleased version by the Byrds from their Turn, Turn, Turn album

Yeah, absolutely. I’m not like you, am I? I’m not like him, either. I’m not like too many others. I’m only like another person who’s been transfigured. How many people like that or like me do you know?

Baby Blue is another Badfinger song presented at Max’s PowerPop site which I knew I had to add to the collection. The previous entry was Lay Me Down. Max wrote the following about Baby Blue:

My love for this song is so over the top. Baby Blue, to these ears, is the perfect power pop song. It has the right combination of the hard British crunch and pop with an irresistible guitar riff. Lets talk about that guitar riff. I know there are other good rock riffs but the perfection in this one is sensational. He plays a variant of it through the song always changing plus a walk down or two. Nothing is purely defined and that is just pure brilliance. The solo is simple but fits perfectly. No nuance in this song is wasted…it was in there for the good of the song…not meant to be flashy.

It’s a hook here, a hook there, and a hook everywhere…and…I’ve been hooked since I first heard it. Everything blends. Even the ending is perfect

Guess I got what I deserved
Kept you waitin’ there too long, my love
All that time, without a word
Didn’t know you’d think that I’d forget
Or I’d regret
The special love I have for you
My baby blue

[Verse 2]
All the days became so long
Did you really think I’d do you wrong?
Dixie, when I let you go
Thought you’d realise that I would know
I would show
The special love I have for you
My baby blue

[Bridge]
What can I do? What can I say?
Except I want you by my side
How can I show you? Show me a way
Don’t you know the times I’ve tried?

References:
1. Baby Blue (Badfinger song) – Wikipedia

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Everytime I Cry (1998) – Terri Clark

Back in September this year Canadian country music artist Terri Clark featured here with her fabulous song Now That I Found You. nostalgicitalian wrote in response to that post, ‘I have loved her stuff for a long time. I had the chance to interview and meet her and she is so down to earth. She’s a fantastic songwriter and singer. Great song.’

Today we have another stellar track Everytime I Cry from the same album How I Feel. I wore out this album after I procured it and I still love hearing these songs. It was released in January 1999 as the third single from the album and reached number 2 on the RPM Country Tracks chart in May 1999. The song chronicles a woman’s continuing disappointment in her ex-lover who keeps putting her heart into misery over and over again.

How I Feel, the third studio album by Terri Clark achieved two top 10 places on the US Billboard Country Charts including today’s song. The album was certified platinum in both Canada and the US.

[Verse 1]
You call and wake me up the way you always do
Say you miss me and you’re sorry, déjà vu
You push the button in the heart you know so well
The wall starts coming down, then I remind myself

[Chorus]
Every time I think you might have changed
Put aside the anger and the blame
Make myself believe that there’s a way to work it out
Every time you say let’s try again
Begging me to let you back in
Every time, I do, every time, you lie, every time, I cry

Below are excerpts from Wikipedia beow:

Terri Lynn Sauson, known professionally as Terri Clark was born in Montreal, Quebec, Canada on August 5, 1968. Clark’s albums have accounted for more than twenty singles, including six Number Ones. In 2004, Clark gained one of country music’s crowning achievements when she became a member of the Grand Ole Opry. She was inducted into the Canadian Country Music Hall of Fame in 2018 and will become a member of the Canadian Music Hall of Fame in 2023.

The video below shows Clark on an escalator and in a room with the walls around her moving closer, while the video storyline interprets various forms of domestic abuse. The video sees both families meeting in a support group for abuse victims and concludes with the number for the National Domestic Violence Hotline showing on the screen.

References:
1. Everytime I Cry – Wikipedia
2. How I Feel (album) – Wikipedia
3. Terri Clark – Wikipedia

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Eine kleine Nachtmusik, K.525 (1787) – Wolfgang Amadeus Mozart

No other classical music composer has featured here more than Wolfgang Amadeus Mozart (1756 – 1791). Today’s serenade Eine Kleine Nachtmusik translated as A Little Night Music is one of the composers most recognisable and delectable pieces. In a catalog of his works, Mozart lists it as having five movements, but only four movements remain, the first minuet having been lost. It was written for an ensemble small enough to be practical for outdoor performance (more often than not an ensemble of winds) – two violins, viola, cello and double bass, but is often performed by string orchestras.

The following is mostly sourced from the Wikpedia article below:
The serenade was completed in Vienna on 10 August 1787, around the time Mozart was working on the second act of his opera Don Giovanni which has featured here already.  It is not known exactly why it was composed, but there was probably some Viennese occasion (as aforementioned) for which Mozart supplied the work – a celebrative occasion, no doubt. Originally, a serenade was evening music with which to divert and/or woo a lover or to please persons of rank. 

The work was not published until about 1827, long after Mozart’s death, by Johann André in Offenbach am Main. It had been sold to this publisher in 1799 by Mozart’s widow Constanze, part of a large bundle of her husband’s compositions. Today, the serenade is widely performed and recorded; indeed, both Jacobson and Hildesheimer opine that the serenade is the most popular of all Mozart’s works. Of the music, Hildesheimer writes, “even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.”

References:
1. Eine kleine Nachtmusik, K. 525 – Wikipedia – LA Phil
2. Eine kleine Nachtmusik – Wikipedia

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