Shiny Boots, Nancy Sinatra and “Sugar Town”

Well, I’ve wanted to feature this song in the blog for a while, and today seems to be the day for a variety of reasons – Yes it’s a shoo-shoo-shoo, shoo-shoo-shoo, shoo-shoo, shoo-shoo, shoo-in (all will become clear).

Last month, as we had moved into 2017, I decided to look back at the first chart listing from 50 years ago which seems to have become, in the course of writing this blog, my favourite year to revisit. Back then the song that jumped out at me was Sitting In The Park by Georgie Fame, so I decided to write about it. Looking at the same 1967 chart a month on, the song that jumped out at me this time was indeed Sugar Town by Nancy Sinatra. I have written about Nancy before as she still tops my personally ranked list of “Favourite Ever Bond Themes”, with You Only Live Twice but I wasn’t really familiar with Sugar Town until recently. As sometimes happens with the music of 1967, I am smitten.

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The second reason for today’s pick is that I have been curious of late as to how my blogging buddies got started so I’ve gone back to have a look at their very first posts, some from quite a few years ago. Lo and behold, over at Charity Chic Music, one of CC’s first picks in 2012 was Sugar Town by Nancy Sinatra whilst C (no relation) at Sun-Dried Sparrows also wrote about Nancy in her second ever post (as an accompaniment to showcasing a very shiny new pair of boots!). A lot of synchronicity going on at the moment in our little corner of the blogosphere, first with posts about songs from the world of psychedelic rock and now it seems with Nancy Sinatra!

Sugar Town by Nancy Sinatra:

Of course most people will remember Nancy for her 1966 hit record These Boots Are Made For Walkin’ and although I could only have been about five at the time, one of my very first memories is of watching Nancy and her troop of “go-go dancers” perform this song on television. It was catchy indeed and was definitely one of the songs even my mum and dad could be caught singing along to whilst doing the housework or a bit of DIY.

You rarely saw Nancy without her boots and they kind of became her signature item of clothing. Like Kylie, she was very petite and doll-like, but with the help of Lee Hazelwood did well to carve out a successful career for herself despite being the daughter of the icon that was Frank. As for me, all through Junior School I coveted those white shiny boots but of course I never did get a pair – It was always a pair of sensible, fur-lined (it was Scotland after all), leather boots carefully fitted by those expert foot-measurers at the Clarks or Start-rite shop.

As I mentioned above, there have been quite a few posts regarding the world of psychedelic rock of late and I myself wrote about White Rabbit by Jefferson Airplane last week. It was one of the first songs to get past the radio censors with its “Alice In Wonderland-esque” lyrics. Sugar Town also was an LSD song if ever there was one and Lee Hazelwood, the songwriter, freely admitted it. The song was directed at a young audience but was outwardly innocent enough to receive radio play.

So, “What’s It All About?” – I never did get a pair of white shiny boots and somehow I don’t think now that I ever will. I did buy a pair of very bright red ones recently however and people at work, who have never spoken to me before, have stopped to admire them – A great conversation starter and now that I think of it, perhaps how to get ahead in the modern day workplace.

Nancy it seems knew exactly what she was doing!

Sugar Town Lyrics
(Song by Lee Hazelwood)

I got some troubles, but they won’t last
I’m gonna lay right down here in the grass
And pretty soon all my troubles will pass
‘Cause I’m in shoo-shoo-shoo, shoo-shoo-shoo
Shoo-shoo, shoo-shoo, shoo-shoo Sugar Town

I never had a dog that liked me some
Never had a friend or wanted one
So I just lay back and laugh at the sun
‘Cause I’m in shoo-shoo-shoo, shoo-shoo-shoo
Shoo-shoo, shoo-shoo, shoo-shoo Sugar Town

Yesterday it rained in Tennessee
I heard it also rained in Tallahassee
But not a drop fell on little old me
‘Cause I was in shoo-shoo-shoo, shoo-shoo-shoo
Shoo-shoo, shoo-shoo, shoo-shoo Sugar Town

If I had a million dollars or ten
I’d give to ya, world, and then
You’d go away and let me spend
My life in shoo-shoo-shoo, shoo-shoo-shoo
Shoo-shoo, shoo-shoo, shoo-shoo Sugar Town

Postscript:

Anyone who visited this post earlier today may have noticed that the music clip I first included was not indeed by Nancy Sinatra but one that I found in my library by another artist. It turns out that darling daughter once got a CD from the Lush soap people which included Sugar Town by the Fresh Handmade Collective, a group of singers and musicians put together to create promotional CDs for the company. Quite different lyrics and Southend-on-Sea substituted for Tennessee. Still a sweet version though and well worth a listen.

Sugar Town by the Fresh Handmade Collective:

Imbolc, Love Unlimited and “It May Be Winter Outside (But in My Heart It’s Spring)”

Well, all winter I’ve been trying to work out how to fit this song into the blog as although there are loads (and loads) of Christmassy songs, there aren’t that many about winter per se. But today seems to be the day as it’s the 1st of February and on nature’s “wheel of the year”, it is Imbolc. Ever since last year’s autumnal equinox, or Mabon as it is also called on the pagan calendar, I have been taking a key interest in these landmark dates, creating a little display, and hopefully finding an appropriate song to post that day.

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Imbolc was one of the cornerstones of the Celtic calendar as for them, the success of the new farming season was of great importance. As winter stores of food were getting low, rituals were performed to ensure a steady supply of food until the harvest six months later. As darling daughter pointed out last September however, we don’t really have to perform such rituals nowadays as we go to the supermarket where you can acquire raspberries in December and Brussels sprouts in June, but I would like to at least acknowledge the old ways before we get just too out of touch with nature in our busy 21st century lives.

So today is the day that we celebrate the passing of Winter, and make way for Spring. The featured song may not really be about the world of nature but I have always loved Barry White and his Love Unlimited Orchestra and so far in the blog, no Barry. As it turns out still no Barry, but this song It May Be Winter Outside (But in My Heart It’s Spring) was written by him and then released in the UK in 1975 by the group Love Unlimited who provided backing vocals for him on his albums and concert tours but who then went on to find success in their own right. (Takes around a full minute to get going, but bear with it.)

It May Be Winter Outside by Love Unlimited:

The symbol of Imbolc is the snowdrop but having had a good recce of the area at the weekend, so far no snowdrops. In the garden today however I was pleasantly surprised to see a little clump popping through in the rockery but just a bit too early for us here in the North of Scotland it seems. I looked back at my folder of pictures taken in 2010 when I manfully tried to take a shot of the natural world every day for a year – Back then this snowdrop shot was taken on the 11th of February so in about 10 days they will no doubt be plentiful.

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The first snowdrops of the year

Coincidentally last weekend I wrote about Johnny Cash and how his deep bass baritone voice was something you don’t often hear in music nowadays. Of course another person who had a very deep bass baritone voice was aforementioned, three-time Grammy Award winner Barry White, also known for his romantic image (but I’ll not mention his nickname here as not very becoming). Barry’s music was of a soul/funk/disco/R&B persuasion and his greatest success came in the ’70s both as a solo singer and with his Love Unlimited Orchestra. Looking at his discography, he was barely out of the UK Singles Chart between 1973 and 1979, his biggest hit being You’re The First, The Last, My Everything.

I am constantly amazed when blogging how everything suddenly comes together by the end of the post and when I started to write about today’s special date in the Celtic calendar I didn’t think I would end up with Barry White, but the symbolism around Imbolc is all of the colour white – snowdrops, ewe’s milk (oi-melc) and St Bride – so very apt in an odd kind of way. Perhaps my subconscious was being cleverer than I was.

Just the Way You Are by Barry White:

I will finish with Barry’s version of the Billy Joel song Just the Way You Are. Again there is a bit of a preamble so bear with it but if anyone knows of a performer with a deeper voice, I’d like to know who? Poor Barry died in 2003 after a few years of health problems but again he has left a massive body of work, much of which is in my music library and I have sadly not been brave enough to admit to that yet. Perhaps appropriate then, on this the first day of Spring (in certain calendars), to come clean – As for me I’m off to light my white candle set amidst the little pot of white crocuses I had to buy as a substitute for snowdrops, and listen to a bit more Barry White!

It May Be Winter Outside (But in My Heart It’s Spring) Lyrics
(Song by Barry White/Paul Politi)

When the temperature dips
I miss my baby’s arms
His tender finger tips
Knows just how to keep me warm

It may be zero degrees
With the snow falling down
But I’ve got warm and tender love
Just as long as he’s around

It may be winter outside
But in my heart it’s spring
How much joy and pleasure, baby
Can one guy bring me

Winter nights can be awful cold
Without someone to hold
But when I have him next to me
Baby, I’m in ecstasy

Throughout my life
I’ve had my share of guys
But he’s been the only one
Who can make my temperature rise

Things are just not the same
When he’s not by my side
But yet, I shouldn’t complain
But be waiting with my arms open wide

Alice, Jefferson Airplane and “White Rabbit”

After getting into the routine of writing very long posts which need a fair bit of research, I really enjoyed putting together a much shorter one last week where the featured song was married up with a set of pictures. This week I’m going to try and do the same, albeit using a very different subject matter:

The tickets are now booked and towards the end of next month we’re off to the Big Smoke, or That London as I’ve heard it called recently, to attend an awards ceremony for those who work in Mr WIAA’s industry. We went for the first time last year and it all worked out so well we have replicated our travel plans exactly. He has apparently won an award, but they very cunningly don’t tell you what it is until the actual ceremony, to leave an element of surprise they say, but img_0319more likely to ensure that as many of us attend as possible. As it turns out you pretty much know what you have or haven’t won the minute you arrive, as last time those of us seated in the “body of the kirk” were the runners up, whereas those who got aisle seats had won the top prizes, the gold awards, and had to go up on stage to receive them. There is no monetary value to the award, just the prestige of being the best in the country at what you do (or perhaps the best of those who have entered but much the same thing), but all very swish and a chance for us country bumpkins from the North of Scotland to experience such a thing. Last time I was happy just to have the chance to put on my posh frock and admire the amazing venue where the ceremony took place. Once the schmoozing started there was even wine and nibbles and being one who very rarely drinks nowadays due to designated driving duties, I got quite tipsy, quite quickly (oops), and therefore made lots of new friends! Wonder if they’ll remember me this year?

The subject matter for his entry this time was the marrying up of sculpture with literature and after a few false starts due to copyright issues it was discovered that Lewis Carroll’s Alice In Wonderland was fair game for inspiration. Now I think this book was one of the very first hardback novels I ever owned, and I still have it as it was a present from my grandmother. Back then I read it as a children’s story but of course being from the fantasy genre it has had a lasting popularity with adults as well. I give you, Mr WIAA’s 2017 entry:

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And if you go chasing rabbits
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And the Red Queen’s off with her head

Today’s featured song could therefore be none other than White Rabbit by Jefferson Airplane, that ’60s band from San Francisco who pioneered psychedelic rock. They headlined at all three of the very memorable (but perhaps not for those who were there) rock festivals of that era, Monterey, Woodstock and Altamont and when I think of 1967’s Summer of Love, I think of them.

White Rabbit by Jefferson Airplane:

The very beautiful Grace Slick wrote White Rabbit and brought it with her when she joined the band. It uses the imagery from 1865’s Alice’s Adventures in Wonderland and its 1871 sequel Through the Looking-Glass and her references include Alice, the hookah-smoking caterpillar, the White Knight, the Red Queen and the Dormouse. For Grace Slick, “The White Rabbit” was your curiosity and of course at that time drugs were very much a part of mind-expanding and social experimentation. With its enigmatic lyrics, in 1967 (that year again) White Rabbit became one of the first songs to sneak drug references past censors on the radio.

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As for Mr WIAA’s interpretation of the works of Lewis Carroll, it is a lot more literal, physical and 3-dimensional so I’m pretty sure he’ll sneak his way past the award body’s board of censors. At his age his drugs of choice tend to be for indigestion or hayfever and sadly there haven’t been too many Summers of Love for him lately, so I think he’ll be ok and hopefully will do well with it in this year’s completion.

So, “What’s It All About?” – Sadly most of the craftspeople who will enter the competition are now of a certain age, and no-one is coming up behind, so these skills are being lost in our country forever. There has been a lot of talk about globalisation recently and we have seen it first hand in our industry as one by one the centuries-old casting companies of Sheffield and Birmingham shut up shop for good, unable to compete with the new technology and prices offered by the Far East. This will be Mr WIAA’s last vanity project as they are expensive to make and he has now been replaced by 3D photocopiers. It is sad, but a fact of modern day life in the Western world. I do wonder about what would happen if one day the machines rebel and refuse to work for us any more – Would anyone even be able to write in longhand any more, one of the most basic of life skills?

But hey, I don’t want to end this very pictorial post on a downbeat note so here is a montage of some of the other beautiful things that were presented at last year’s awards. As for us, we’ll be down at the end of the garden with our hookahs, looking for a rabbit hole, the voice of Grace Slick ringing in our ears!

White Rabbit Lyrics
(Song by Grace Slick)


One pill makes you larger, and one pill makes you small
And the ones that mother gives you, don’t do anything at all

Go ask Alice, when she’s ten feet tall

And if you go chasing rabbits, and you know you’re going to fall
Tell ’em a hookah-smoking caterpillar has given you the call

And call Alice, when she was just small

When the men on the chessboard get up and tell you where to go
And you’ve just had some kind of mushroom, and your mind is moving low

Go ask Alice, I think she’ll know

When logic and proportion have fallen sloppy dead
And the white knight is talking backwards
And the red queen’s off with her head
Remember what the dormouse said
Feed your head, feed your head

Kris Kristofferson, Johnny Cash and “Sunday Morning Coming Down”

Last time I wrote about the song Fog on the Tyne which was actually a suggestion from one of my blogging buddies as it followed on nicely, in meteorological terms anyway, from my previous post which was about the song Misty by Ray Stevens. Lo and behold, just when I needed some inspiration, down from the “cloud” (I am restoring all my files onto a new computer) came a series of old pictures of my late father-in-law who was a Geordie by birth and who had worked as a young man, right in the centre of Newcastle, in an office overlooking the River Tyne.

The other suggestion I had received as to what song could follow on nicely from Misty was from Lynchie, a regular visitor to this place, who informed me that Ray Stevens had been the first person to record the Kris Kristofferson-penned song Sunday Morning Coming Down in 1969. I was a bit nervous about stepping on toes however as our Chain host over at Dubious Towers produces an excellent weekly country music thread with that same title – An homage to the song and its writer. As he just seems to have just found his blogging mojo again however after a surprisingly common bout of January blues, I rather hoped he’ll let me off. Lo and behold, what suddenly descended from the “cloud” yesterday afternoon but an mp3 of the Johnny Cash version of Sunday Morning Coming Down that I didn’t even remember I had – This post was meant to be!

Mr Kristofferson is someone I have long admired – Back in the ’70s he appeared in many films (Pat Garrett and Billy the Kid, Convoy, Alice Doesn’t Live Here Anymore, A Star Is Born) and for some reason he was one of the actors I took a real shine to. I have always had a penchant for a man with a beard (although not necessarily today’s hipster style), and he did sport a very rugged look back then. What I have now discovered is that not only did he write some of the most iconic songs from that era but he was probably one of those guys who would have succeeded in whichever path in life he chose. A top scholar, an accomplished athlete, a US Army captain, a helicopter pilot, a novelist, an actor and a singer/song-writer.

Having just checked, I find it incredible that he never once appeared in the British music charts in his own right, despite the fact that so many of his songs did make an appearance when sung by other people – For the Good Times by Perry Como and Help Me Make It Through the Night by Gladys Knight and the Pips amongst others. He definitely did make an appearance for several weeks in a row however on 1977’s TOTP as he was Barbra Streisand‘s love interest in the film A Star Is Born – Much smooching was done during the filmed recording of the song Evergreen which was a massive hit for her that year. (Yes, my 16-year-old self was definitely smitten with Mr K in that one.)

But this was supposed to be a post about the song Sunday Morning Coming Down and as we have now ascertained Kris Kristofferson wrote it and Ray Stevens was the first person to record it, but when Johnny Cash did a version in 1970 it reached No. 1 on the country chart and won the Country Music Association Award for Song of the Year. The story is that Kris, who was working as a janitor at the time for Columbia Records in Nashville mainly to get a foothold in the industry, flew his National Guard helicopter right onto Johnny’s front lawn in order to deliver the demo tape in person. That was the turning point for him however as once Johnny took the song on, and made it his own, Kris was quoted as saying that he never again “had to work for a living”.

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As for how I came to have a copy of the song in my digital library – That would be because a few years ago I had not so much a mid-life crisis but all of a sudden I became besotted with country music. It started off with acquiring Glen Campbell CDs but I then progressed to compilations of Greatest Country Hits and just about anything else I could lay my hands on, which of course included a Johnny Cash CD containing the song Sunday Morning Coming Down. Before then I had mainly known Johnny from his more light-hearted songs such as One Piece at a Time and A Boy Named Sue but also from the film I Walk The Line and the documentaries about his concerts held in the various state penitentiaries across America. Perhaps you have to be of a certain age to truly appreciate country music, and likewise, in order to really emote the lyrics in the songs you need to have a modicum of life experience, which by the time I came to appreciate Johnny he truly would have had.

The clip here is a great one as not only do we have Johnny but also Kris singing the song, making it a duet. The preamble is something they used to do quite a lot of on these sort of shows, and can be a bit cringifying, but it does lead in to an excellent performance.

Sunday Morning Coming Down by Johnny Cash:

So, “What’s It All About?” – It seems you should never be dismissive of any genre of music as one day you might just suddenly “get it” and you have a great new world to explore. As for Mr Cash’s voice, it was a deep calm bass-baritone which you just don’t often hear in music nowadays. I find it ironic that I always knew him best for his humorous songs, considering he built a whole persona around being “The Man in Black” – Sombre, serious and frankly quite scary.

As for Kris, unlike Johnny he is still with us, and rumours are afoot that he may even appear at Glastonbury this year which would be truly amazing. I am partly amazed by this because I know he is exactly the same age as my little mum and somehow I just can’t imagine her gracing the stage at Glastonbury. What she can do however is read this blog and it has become a feature of our Friday evenings together, when I go to visit. I really don’t think she quite understands the whole concept of “blogging” and why should she?Sharing your innermost thoughts, with complete strangers, across every corner of the globe is indeed a bizarre concept but one that can bring great enjoyment, so I for one intend to keep going!

Until next time….

Sunday Morning Coming Down Lyrics
(Song by Kris Kristofferson)

Well, I woke up Sunday morning
With no way to hold my head that didn’t hurt.
And the beer I had for breakfast wasn’t bad,
So I had one more for dessert.
Then I fumbled in my closet through my clothes
And found my cleanest dirty shirt.
Then I washed my face and combed my hair
And stumbled down the stairs to meet the day.

I’d smoked my mind the night before
With cigarettes and songs I’d been picking.
But I lit my first and watched a small kid
Playing with a can that he was kicking.
Then I walked across the street
And caught the Sunday smell of someone frying chicken.
And Lord, it took me back to something that I’d lost
Somewhere, somehow along the way.

On a Sunday morning sidewalk,
I’m wishing, Lord, that I was stoned.
‘Cause there’s something in a Sunday
That makes a body feel alone.
And there’s nothing short a’ dying
That’s half as lonesome as the sound
Of the sleeping city sidewalk
And Sunday morning coming down.

In the park I saw a daddy
With a laughing little girl that he was swinging.
And I stopped beside a Sunday school
And listened to the songs they were singing.
Then I headed down the street,
And somewhere far away a lonely bell was ringing,
And it echoed through the canyon
Like the disappearing dreams of yesterday.

Old Photos, Lindisfarne and “Fog on the Tyne”

Some of you who visit this place know that I have been having a few technical issues of late which has hampered my usual blogging activities. And so, yet again, I am trying to restore 15 years’ worth of data back onto my PC and although it is apparently in a virtual “cloud” somewhere, it must be so high up in the stratosphere that at the moment it can’t be easily located.

The amazing thing however is that all sorts of things I had totally forgotten about are descending from the skies and as I have temporarily lost my zest for writing due to the technical issues (“ma heid’s mince” as we say in Scotland), this post will be in pictorial form as it very smoothly follows on from my last one which featured the song Misty by Ray Stevens. Back then C, from the wonderful Sun Dried Sparrows blog, mentioned in the comments boxes that Misty immediately made her think of the song Fog on the Tyne by Lindisfarne. Guess what descended from the cloud this afternoon? – The contents of my late father-in-law’s Digi frame which we must have saved onto the computer after he passed away. No long wordy post therefore, just the pics that tell the story of a young man from Newcastle-upon-Tyne who somehow made his way up to the Highlands of Scotland and whose son I ended up marrying.

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The River Tyne and the Tyne Bridge

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A young man who in the 1940s finds himself a job in an office overlooking the Tyne, right in the centre of Newcastle

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That same young man has a passion for climbing and heads off on holiday to the Isle of Skye where he meets a lovely young art student from Birmingham

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The young couple fall in love and marry a few years later

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Their love for the Highlands of Scotland means that they move up there to live and have three children who are all given very Scottish names, the youngest of whom becomes Mr WIAA

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They have a long and happy life together but by 2015 both have passed on, leaving three happily married children and three grandchildren

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And so it turns out that my daughter is one quarter Geordie – This one is for her therefore, Fog on the Tyne by Lindisfarne from their 1971 album of the same name

Fog on the Tyne by Lindisfarne:

Lindisfarne were a folk-rock hybrid formed in the Newcastle-upon-Tyne of 1969 and were named after the historic Holy Island of Lindisfarne off the Northumbrian coast. The lyrics to their songs blended “wistful sensitivity, social sentiments and boozy revelry”. Fog on the Tyne was the biggest selling album by a British band in 1971.

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Lindisfarne in 1971

Fog on the Tyne Lyrics
(Song by Alan Hull)

Sittin’ in a sleazy snack-bar
Suckin’, sickly sausage rolls
Slippin’ down slowly, slippin’ down sideways
Think I’ll sign off the dole

Because the fog on the Tyne is all mine, all mine
The fog on the Tyne is all mine
The fog on the Tyne is all mine, all mine
The fog on the Tyne is all mine

Could a copper catch a crooked coffin maker
Could a copper comprehend
That a crooked coffin maker is just an undertaker
Who undertakes to be a friend?

And the fog on the Tyne is all mine, all mine
The fog on the Tyne is all mine
The fog on the Tyne is all mine, all mine
The fog on the Tyne is all mine

Tell it to tomorrow, today will take it’s time
To tell you what tonight will bring
Presently we’ll have a pint or two together
Everybody do their thing

We can swing together, we can have a wee wee
We can have a wet on the wall
If someone slips a whisper that its simple sister
Slapped them down and slavered on their smalls

‘Cause the fog on the Tyne is all mine, all mine
The fog on the Tyne is all mine
The fog on the Tyne is all mine, all mine
The fog on the Tyne is all mine

Ray Stevens, “Misty” and the Story of a Song

My last post was about the Roberta Flack song featured in the film Play Misty for Me and in the comments boxes, Rol, whose excellent My Top Ten blog is one I visit often, threw down the gauntlet and asked, “Any chance of a follow-up post on Misty itself, by Ray Stevens? If you don’t, I will!”.

After watching the film again the other night, it confirmed for me that the version of Misty that was requested so often (tring, tring, …”Play Misty for me”) by mad-stalker-woman Jessica clintWalter, was not indeed the one by Ray Stevens (as it wouldn’t have been recorded for another four years), nor by Johnny Mathis who did a very romantic version in 1959, but in fact the original instrumental composed by jazz pianist Erroll Garner. Mr Garner was born in Pittsburgh in 1923 and started playing piano at the age of three. He came from a very musical family all of whom played piano but he never did learn how to read music and always played by ear. I give you the original Misty, composed in 1954 (the familiar part starts at 0:30).

And here is where I made a brand new discovery – I mainly know Johnny Mathis from his mid ’70s offerings I’m Stone In Love With You and of course When A Child Is Born, the big 1976 Christmas No. 1 hit. At that time Johnny always looked as if he’d just got off the golf course but in the late ’50s and early ’60s he was apparently the “Master of The Love Ballad” or more crudely put, “The King of Necking Music”. Despite being an outstanding athlete, he chose music as a career and amazingly Sinatra and Presley are the only male artists to have sold more albums. It should come as no surprise therefore, that when Johnny Burke wrote lyrics for the previously instrumental Misty, Johnny Mathis would be the very person to record this new version which became a big hit for him in 1959.

But this was supposed to be a post about the Ray Stevens‘ version of the song and at last I am getting round to it. Although Ray Stevens had been a very successful, multi-talented entertainer from the early ’60s onward, I probably only knew him from his early ’70s comedic novelty songs. There was Bridget the Midget (Queen of the Blues) in 1971 and then The Streak in 1974 released on the back of that very unusual fad of running naked through sporting venues. Fortunately, British bobbies’ helmets at that time were well designed for containing those body parts best kept under wraps, but still amused the crowds at Twickenham, Wimbledon and even at a Winter Olympics curling final (brrr…).

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In 1975 Ray Stevens decided to record a very countrified, up-tempo version of Misty which was a bit of a departure for him after so many novelty records. He was however born in Georgia in 1939 (still with us, I have just checked) and became a producer and studio musician in Nashville, so it would have made sense for him to go down that route especially as during the mid-70s country music had kind of become mainstream. Looking back at the charts of 1975, around a quarter of the records were by people whose names ended in a “y” or an “ie” – Tammy, Dolly, Johnny, Kenny, Billie, Charlie and so on. Yes, country-pop as a sub-genre had come of age, even outwith the US, and I think a lot of it was down to the fact that for the first time in ages, people of my parents’ generation had new music they could identify with and enjoy. Maybe it was different in the cosmopolitan cities, but where I came from in Scotland venues were packed out with people keen to watch their American country stars of choice perform songs that were set in the Appalachians, in Tennessee or Kentucky. Very apt really as these songs were written by the offspring of the Scottish, Irish and other Celtic immigrants who played well-known traditional instruments, such as fiddles, banjos, harmonicas and acoustic guitars.

Misty by Ray Stevens:

Ray Stevens‘ version of Misty is the one I know best and whenever I hear that intro I know exactly what is going to come next – That first line about being so love-struck you’re “as helpless as a kitten up a tree”. Yes, we’ve all been there, but fortunately not for some time in my case (the helpless kitten part). I’m not sure if Erroll Garner or Johnny Mathis would have approved of this version, but it was certainly the most commercially successful here in the UK and won a Grammy Award in the category of Music Arrangement of the Year. Ray was never as well-known here as in his native US but I have just had a bit of a déjà vu moment where I am reminded of watching him appear on the Andy Williams Show back in the late ’60s. He was a regular as it turns out, but at the time I would have been just far too preoccupied with that very good-looking band of Osmond brothers who also used to appear regularly, performing their very polished barbershop routines.

So, “What’s It All About?” – Not sure how well I’ve risen to the challenge of writing about this song, but I have enjoyed revisiting Misty and finding out so much more of its back story. I know Rol would have probably approached it differently but hey, this is how I do things here at WIAA? so hopefully whoever drops by will find something of interest. The question now is, do I continue to ask for suggestions on what song to write about next? I think this approach is sufficiently different to what we do on The Chain, so for one more post only, please enter suggestions in the comments boxes below to a song that links to Misty by Ray Stevens and I’ll see what I can come up with – A challenge indeed!

Misty Lyrics
(Song by Erroll Garner/Johnny Burke) 

Look at me
I’m as helpless as a kitten up a tree
Ah, I’m walkin’ on a cloud
I can’t understand, Lord
I’m misty holdin’ your hand

Walk my way
And a thousand violins begin to play
Or it might be the sound of your “hello”
That music I hear, Lord
I’m misty the moment you’re near

You can say that you’re leadin’ me on
But it’s just what I want you to do
Don’t ya notice how hopelessly I’m lost
That’s why I’m followin’ you

Ooh, on my own
Should I wander through this wonderland alone, now
Never knowin’ my right foot from my left
My hat from my glove, Lord
I’m misty, and too much in love

You can say that you’re leadin’ me on
But it’s just what I want you to do
Don’t ya notice how hopelessly I’m lost
That’s why I’m followin’ you

Ooh, on my own
Should I wander through this wonderland alone, now
Never knowin’ my right foot from my left
My hat from my glove, Lord
I’m misty, and too much in love

(Misty) too much in love
(Misty) too much in love
(Misty)
(Misty) too much in love…

Roberta Flack, Clint Eastwood and “The First Time Ever I Saw Your Face”

Anyone who visits these pages will know that I am often earworm-afflicted, but thankfully most of these earworms are of the pleasurable variety. Last week it was The First Time Ever I Saw Your Face by Roberta Flack which had popped up on on the car radio on my way home from work. I hadn’t heard it in years and was struck by just how beautiful it was. Such a slow pace to it which contrasted markedly to everything else I had heard during the same journey. It was actually written back in 1957 by Ewan MacColl, the multi-talented British folk singer, songwriter, activist and more importantly, dad to Kirsty, but was subsequently covered by many other artists.

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The young Ewan MacColl – Is it me or is there a passing resemblance here to a certain Mr Shane MacGowan?

Ewan made no bones about the fact that he didn’t like these cover versions, but despite that, Roberta’s version from 1972 became a major international hit, winning a Grammy Award for Record of the Year. Her rendition, at over five minutes long was much slower than the original which ran to only two and a half minutes but the success of this more sensual version was no doubt because it was used by Clint Eastwood for his 1971 film Play Misty for Me, where he made his directorial debut. Yes, although the song was originally written as a love song for Ewan’s long-distance American lover Peggy Seeger, whom he subsequently married, the Roberta Flack version, once in the hands of Mr Eastwood became a song all about “makin’ love” – All very smooth in the make-believe world of the movie and not at all like in the real world where I’m sure there would have probably been nettle stings, ants and mussed-up hair.  

The First Time Ever I Saw Your Face by Roberta Flack:

Play Misty for Me is a really great psychological thriller and one which I do remember watching on television as a teenager, back in the ’70s. Of course in those days families generally only had one television set which resided in what we called The Living Room (although I am aware that depending on your class and geographical location it could have been called something else). We also had no central heating but a very fine looking 2 bar electric fire to keep us cosy during the long winter months. My point is that the whole family sat in the living room watching television together and whenever “scenes of a sexual nature” as they are called nowadays were transmitted, it was a cue for everyone to get very embarrassed. My dad would suddenly pick up his Aberdeen Press and Journal (Scotland’s oldest daily newspaper) to hide behind, and my mum would find something very important to do in the kitchen. I was left red-faced, willing the “scene of a sexual nature” to be over as soon as possible so that we could all get back to the business in hand, which was hoping that the dashing Carmel-by-the-Sea radio jockey Mr Eastwood, would manage to thwart the unwanted attentions of his stalker, Jessica Walter.

And here is where the law of freaky coincidences strikes again. After purchasing the song at the weekend I decided to write about it on Sunday night. I got side-tracked however by a spot of boxset binging – Mad Men, the final season. Anyone who has watched Mad Men will know that it is an American period drama set primarily in the 1960s at the fictional Sterling Cooper advertising agency on Madison Avenue. We were now right at the end of the final season however and had reached the early 1970s. At the end of each episode they chose a song from the era to accompany the closing credits and what did Sunday night’s turn out to be? Yes, The First Time Ever I Saw Your Face by Roberta Flack!

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The Cast of Mad Men – We’ve reached the 1970s!

But of course I can’t leave it there as this would just be too schmaltzy a post. No, instead I will leave you with Will from the Inbetweeners movie, who thought that a spot of Roberta Flack would help him capture the heart of Katie, a girl he had met on holiday – Needless to say it didn’t, and she led him a merry dance on the way to finding that out, but all very funny nonetheless. Until next time, I give you Will…..

The First Time Ever I Saw Your Face
(Song by Ewan MacColl)

The first time ever I saw your face
I thought the sun rose in your eyes
And the moon and the stars were the gifts you gave
To the dark and the endless skies my love
To the dark and the endless skies

The first time ever I kissed your mouth
I felt the earth move in my hand
Like the trembling heart of a captive bird
That was there at my command my love
That was there at my command my love

And the first time ever I lay with you
I felt your heart so close to mine
And I knew our joy would fill the earth
And last ’till the end of time my love
And it would last ’till the end of time

The first time ever I saw your face
Your face, your face

Georgie Fame, “Sitting In The Park” and Years That End With A Seven!

Something I do love about a brand new year is that the calendar (for 2017 this time), is as yet full of blank pages. We don’t know yet what the year will bring (although considering what last year brought maybe that’s a good thing) – 30 years ago it brought a new job, a new town and a new life. But this is supposed to be a music blog so what would I have been listening to back in 1987? Looking at the UK Singles Chart for this week, 30 years ago, the record still at No. 1 was Reet Petite by Jackie Wilson. I am constantly amazed at how rarely the top-selling record at any time really reflects the musical zeitgeist of the times, and this is a perfect example. Reet Petite was written for Jackie by Motown founder Berry Gordy back in 1957 but here it was giving much joy, 30 years later.

I didn’t really know which direction this post was going to take before I started but it does seem to heading in the general direction of revisiting years that end with the number 7! Those of you who follow these pages will know that over the last twelve months my favourite year for revisitation has been in fact 1967 as somehow the music from that era is the most pleasing to my now middle-aged ears. Why is that I wondered? It turned out to be down to a combination of factors but one of the main ones was simply that I was a very happy child and songs from that era only conjure up only good memories. Also my awareness of the world of popular music was still at its nathpc7qncicscent state, so songs from that year are still lesser-known and I have not tired of them in the same way that I have tired of some of the material from my own, very well-known era, the ’70s and ’80s.

Looking back at the UK Singles Chart for week commencing 5th January 1967, it contains many rare gems I have not yet tired of. One that quickly became an earworm (of the very pleasant variety) was Sitting In The Park by Georgie Fame. Back in my childhood days I always used to mix up Georgie Fame and Alan Price (ex of The Animals), but looking into it a bit more, both of them did usually sit at keyboards of some sort and did work together quite a bit over the years, so explains a lot

Sitting In The Park by Georgie Fame:

Georgie’s real name was Clive Powell but once he became managed by Larry Parnes, who had given new stage names to Marty Wilde and Billy Fury (there’s a pattern forming here) the new name was pretty much forced upon him. Georgie Fame was essentially an R&B and jazz singer who had many hits in the ’60s, Sitting In The Park being one of his less successful actually. He had played piano for Billy Fury as part of his backing band The Blue Flames, and this record was indeed attributed to “Georgie Fame and the Blue Flames”. He is still the only British pop star to have achieved three number one hits with his only Top 10 chart entries. There was Yeh, Yeh in 1964, Get Away in 1966 and The Ballad of Bonnie and Clyde in 1967 (inspired by the film from the same year).

bonnie.jpgLike many others from this era, Georgie had been heavily influenced from early on by the great jazz and blues musicians and was one of the first white artists to be influenced by the ska music he heard in Jamaican cafes. The Blue Flames had a three-year residency at the Flamingo Club in Soho which was usually full of American GIs who came in from their bases for the weekend. They brought records with them and after one GI gave Georgie a copy of Green Onions by Booker T & the MG’s, he apparently went out and bought a Hammond organ the very next day.

The song Sitting In The Park (which I find both beautiful but also desperately sad – commonplace when revisiting this era) was actually written by American R&B/soul artist Billy Stewart. He had a string of hits in the ’60s although was more popular in his native USA. Billy sadly died in a car accident shortly before his 33rd birthday. Here is his version of this song from 50 years ago which I have just discovered, and find strangely enchanting.

So, “What’s It All About?” – It’s a new dawn, it’s a new day…  Oh no, that’s another song altogether by Nina Simone! It is however a new year and one that does indeed end with a 7 – A number with all sorts of significance. There are 7 days in the week, 7 notes on the musical scale, 7 wonders of the world and 7 deadly sins. There is also the fictional MI6 agent 007, and of course it was the number on the back of a certain well-known footballer’s shirt.

As for me, I think I’ve just had another touch of “blogger’s block” in this, the first week of a new year, which might well account for this very odd post. Whatever, I hope to return to form soon but in the meantime it has been a joy reacquainting myself with the sounds of Georgie Fame and Billy Stewart, who were both, just sittin’ in the park.

Until next time…

Sitting In The Park Lyrics
(Song by Billy Stewart)

Sittin’ in the park,
Waitin’ for hooo-hoo-hoo-hoo sha-la

Yes I’m sitting right here
Waiting for you my dear
Wondering if you ever
want to show up

I don’t know you’re gonna show
My darlin’ I got to go
But nevertheless I staying
You got to be waiting

Sittin’ in the park,
Waitin’ for hooo-hoo-hoo-hoo sha-la-la

Sitting here on the bench
With my back against the fence
Wonderin’-a-if I
Have any sense

Something tells me I’m a fool
Let you treat me so cruel
But nevertheless I say again
you gotta be waiting

Sittin’ in the park,
Waitin’ for hoooo-hoo-hoo-hoo

Why oh, why oh, why oh,
Why oh, why oh, why oh, why

Won’t you tell me why
Oh my darlin I’m sittin’ right now
Oh, girl, I want to know why?
Why? sha-la-la-la

Sittin’ in the park,
Waiting for hooo-hoo-hoo-hoo sha-la-la

Sittin’ here on the bench
With my back against the fence
Wonderin-a-if I
Have any sense

Something tells me I’m a fool
Let you treat me so cruel
Nevertheless I say it
You gotta be waiting

Sittin’ in the park,
Waiting for hooo-hoo-hoo-hoo

No I’m not gonna wait
I am tired of waiting
No longer gonna wait, girl
Any longer
I’m tired of waiting
No longer gonna wait, girl

Dina Carroll, “The Perfect Year” and a Happy New Year!

Well I think that all of us who blog about the world of entertainment, be it music, film, comedy, theatre, or any other category I might have missed, will agree that 2016 was a pretty desperate year. I don’t know if anyone has done the stats yet, but compared with 2015, never a week seemed to go by without a major name (and I mean really major) leaving this mortal coil. I doubt if any mathematician out there could have produced a formula that would have predicted such things. As we are now into 2017 (well hello new year), I am going to hope that things become a bit more normalised again – Steady as she goes.

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I may be a day too late by the time this gets published but I thought of this song on New Year’s Eve, or Hogmanay as we call it here in Scotland, when I was writing the second part of my George Michael tribute. The two pieces of music (primitive cassette tapes actually) we took into hospital with us to while away those long hours in the Labour Suite awaiting the birth of darling daughter (fortunately selective memory kicks in and I can’t really remember the pain now), were by George and Dina Carroll.

I also can’t remember all these years later, if my daughter was born to the sounds of George, Dina, or neither, as we were probably well and truly sick of both of them by the time the end game came along. Also, I was a bit preoccupied with averting my gaze from the man holding the most enormous pair of forceps I had ever seen in my life, to really take note of which tinny sounds were emanating from the very basic player in the corner of the room. It is appropriate however to feature this lovely song at the birth of this brand new year. Let’s hope it’s going to be a better one, in every sense of the word.

Ring out the old, bring in the new
A midnight wish to share with you

The Perfect Year was actually a song written for the stage musical Sunset Boulevard which opened in July 1993 although it was of course originally a very successful 1950 American film noir directed and co-written by Billy Wilder. The film Sunset Boulevard was nominated for 11 Academy Awards and won 3. It starred William Holden as Joe Gillis, an unsuccessful screenwriter, and Gloria Swanson as Norma Desmond, the faded silent film star who drew him into her fantasy world.

But 1993 brought us the musical, and the music for it was written by that most prolific of impresarios Andrew Lloyd Webber, with the words being written by Don Black and Christopher Hampton. At the end of that same year Mr WIAA and myself ventured quite far afield on holiday, and to my shame, we returned home with quite a lot of music that was perhaps not of the entirely legitimate nature. Looking now at legitimate copies of the “Five Live EP” (mentioned last time) and the “So Close” album by Dina Carroll, the ones we had acquired on holiday in 1993 contained an awful lot of additional material, which is why they probably saw us through the long night in the Labour Suite. The upshot of this tale is that The Perfect Year was actually on our copy of “So Close”, and has always been my favourite track. A beautiful song, sung beautifully, with a sentiment that appeals to an old romantic like myself.

The Perfect Year by Dina Carroll:

Dina Carroll was born in Suffolk in 1968 and if I remember correctly, she is another of those artists with an American Forces father and a British mother who somehow seem hard to place, and could fit in equally well on either side of the pond. Dina started singing at the age of five and won a talent competition at thirteen. Between 1989 and 1993 she had great chart success and carried out a British tour in the November/December of that year supported by the then unknown Eternal (one of whom was little Louise Nurding now Redknapp who reached the final of last year’s Strictly Come Dancing – bit of trivia).

To round off this highly successful 1993, Dina recorded her version of The Perfect Year and released it in the December which is how it must have come to be on our (dubious) copy of “So Close”. The song reached No. 5 in the UK Singles Chart and Dina was to become the only British female to have two singles simultaneously in the Top 10 that decade, with Don’t Be a Stranger still riding high when The Perfect Year entered the charts.

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So, “What’s It All About?” – It is indeed a new calendar year and we humans do like to compartmentalise time in this way, although really it’s still just the day after yesterday. We like to use this time of the year for fresh starts, and I hope your fresh starts work very well for you.

This time last year I had no idea this place existed and had hitherto mainly shared my thoughts with my friends on Facebook, much to their chagrin – It was time to move to a better medium and this one has been great. I will admit to making a few mistakes along the way and am still prone to sometimes making comments on other blogs, then changing my mind, but finding it is too late. Sorry if you have been the recipient of one of my ill-thought-out comments. I will do better in 2017.

Goodbye then to a sorry 2016, and Hello to a hopefully superior 2017 (although I’m not holding my breath).

Until next time, enjoy the beautiful sounds of Dina Carroll who in 1993 thought she was about to have, The Perfect Year.

The Perfect Year Lyrics
(Song by Don Black/Andrew Webber/Christopher Hampton)

Ring out the old, bring in the new
A midnight wish to share with you
Your lips are warm, my head is light
Were we in love before tonight?

Oh, I don’t need a crowded ballroom
Everything I need is here
If you’re with me next year will be
The perfect year

No need to hear the music play
Your eyes say all there is to say
The stars can fade and they can shine
Long as your face is next to mine

I don’t need a crowded ball room
Everything I need is here
If you’re with me next year will be
The perfect year

We don’t need a crowded ballroom
Everything we need is here
If you’re with me next year will be
The perfect year

It’s new year’s eve and hopes are high
Dance one year in, kiss one goodbye
Another chance, another start
So many dreams to tease the heart

We don’t need a crowded ballroom
Everything we need is here
And face to face we will embrace
The perfect year

Oh, we don’t need a crowded ballroom
Everything we need is here
So face to face we shall embrace
The perfect year

An Open Letter to George Michael RIP, Part 2 – The Solo Years

Dear George

Well old friend, it’s been a very sad but oddly uplifting few days. I wrote my first letter to you back on Tuesday when the news of your death was still raw. Since then I have pulled together all the old vinyl and CDs (from both the Wham! and solo years) and had a good wallow through your back catalogue. There is much there to give joy but also material there that now breaks my heart – I don’t know about the Cowboys but I hope you are now with the Angels. A cringey thing to say I know, but I had to include that song somewhere as although not a massive commercial success in its own right, it is still my favourite from your album “Listen Without Prejudice Vol 1” (there never was a Vol 2 but that of course is another story).

Cowboys and Angels by George Michael:

When I say it has also been an oddly uplifting few days, that is because we have now heard about some of your (hitherto anonymous) amazing acts of generosity. You were always at the forefront whenever a charity concert or single was in being put together but most of us had no idea just how many random acts of kindness you were responsible for over the years. You helped out at homeless shelters and always stood up for the downtrodden. A prince among men.

But I have jumped ahead. In my last letter to you I did a fair bit of reminiscing about all that went on in both of our lives during the Wham! years of the early ’80s but what happened after that? I think we both kind of grew up. You carved out a successful career as a very credible solo artist and I stopped being a flibbertigibbet, moved to a new town and took up a responsible job. Ok, so I still was a bit of a flibbertigibbet, but I now lived on my own and had to travel long distances to meet up with my old friends, but when I did, it was just like old times.

In 1987 you released your first solo album “Faith” and during one of our reunion weekends that year it was played constantly. The girls were mightily taken with your new “look” and we found it quite amusing that so many young men were trying to recreate that look, what with the designer stubble, the leather jacket, the shades and even the glove. Looked great on you but on anyone else it just kind of looked silly. One of my friends had actually been given a video of the single I Want Your Sex by her boyfriend, as a present for her birthday. A few raised eyebrows about that one as how could one ever compete with “Gorgeous George” in the bedroom department!

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George Michael – Faith

But you were exhausted after all the hoopla that came with the promotion of “Faith” George, and to be honest so was I. Living in The Highlands of Scotland but spending every weekend travelling around the country was also exhausting and I started to make friends locally and even got myself a boyfriend who was to become Mr WIAA. Hurrah I hear you say (after getting bored with my stories of the on-off nature of my relationship with boyfriend no. 1 during the Wham! years).

In 1990 you released a much more contemplative album called “Listen Without Prejudice Vol 1” and the first single from it Praying for Time had lyrics that concerned social ills and injustice. We were starting to realise what kind of man you really were. This album was a very different affair and it alluded to your struggle with your artistic identity. Vol 2 never did appear and shortly after, you ended your record contract with Sony.

One good thing that came out of your dispute with the record company is that you had a fair bit of “gardening leave” and threw yourself into appearing at benefit concerts and such like. The one that has gone down in history, is when you took part in the Freddie Mercury Tribute Concert in 1992 along with Queen, Lisa Stansfield, Seal, David Bowie and many others. For some reason I can’t remember watching this concert live on telly at the time (put it down to getting engaged, married and buying and selling a property in a four month period) but it was obviously repeated in 1993 ahead of the Five Live EP where five tracks from the concert were released on a single EP, with all proceeds going to the Mercury Trust. This time we did see it, and my goodness it gave me goosebumps. You know when you witness something truly exceptional and your version of Somebody To Love with the other members of Queen really was exceptional (check out that note at 1:16).

Somebody To Love by George Michael and Queen:

Around this time I always had a blank tape in the VCR (remember those) and if something special came on telly I would quickly press “record”. This performance of Somebody To Love was revisited many times over the next few months. To see you, giving it your all George, in your gorgeous coral-coloured jacket (a great choice by the way) and blousy gold earring, was joy personified.

And here is where you feature in a really important moment in my life, and that of my daughter’s as it turns out. A couple of years later I found myself “with child” (blame the I Want Your Sex video) and it was suggested that we take a few cassette tapes with us to the labour suite come the hour. It all gets a bit frantic when everything starts to happen so we quickly grabbed the bag and two tapes to take with us. One was by Dina Carroll (not thought of her in ages) and the other was the Five Live EP. Despite the rush to get there things did not end up happening very quickly at all and we spent all evening, all night and then part of the next morning awaiting darling daughter’s arrival, all to the sounds of you George, plus those of Lisa Stansfield, Queen and occasionally Dina Carroll. Very apt really, and excuse the schmaltz, but she truly has been “somebody to love”.

I will admit that once you have a family, music has to take a back seat, especially if you are the mum I think, and I am sorry George but my attention to you was a tad neglected over the next few years but I did appreciate your “Older” album when it came out in 1996 and of course I had to buy “The Best of Wham!” in 1997, and then “Ladies and Gentlemen” in 1998. Funnily enough, by this time darling daughter was becoming a little character in her own right and one of our favourite things to do of an afternoon was to dance to your songs. One of the best for this was Club Tropicana where we re-enacted the long pre-amble with the sound of the car pulling up, the footsteps, the cicadas and then the opening of the doors to “Club Tropicana”. Fun times and needless to say she did become a bit of an aficionado of musical theatre and at one point we thought that a life on stage might be for her.

Oh George, here I am running out of words again and I’ve only got to 1998 but of course that was also the year that you kind of let yourself down a bit. None of us who were fans cared whether you were gay or not but you did “out” yourself in a very public way by getting arrested in LA. You say it was a subconsciously deliberate act, which it probably was, and it did give us the very entertaining Outside later on that year. Didn’t endear yourself to the LAPD with that one though, did you?

I can see, as fellow Chain-Ganger George (coincidental name) suggested last time, that this will have to be a game of three thirds as opposed to two halves, so until next time, thank you again Georgios Kyriacos for all the great music I have had the privilege to revisit this week due to your very untimely demise. I would much rather it had been under very different circumstances, but there we are.

Until next time, RIP to the Cowboy and the Angel who tried very hard to find “somebody to love”.

Cowboys and Angels Lyrics
(Song by George Michael)

When your heart’s in someone else’s hands
Monkey see and monkey do 
Their wish is your command
Not to blame
Everyone’s the same

All you do is love and love is all you do
I should know by now the way I fought for you
You’re not to blame, everyone’s the same

I know you think that you’re safe
Mister
Harmless deception
That keeps love at bay
It’s the ones who resist that we most want to kiss
Wouldn’t you say?

Cowboys and angels
They all have the time for you
Why should I imagine that I’d be a find for you
Why should I imagine
That I’d have something to say

But that scar on your face
That beautiful face of yours
In your heart there’s a trace
Of someone before

When your heart’s in someone else’s plans
Things you say and things you do
That they don’t understand
You’re not to blame
Always ends the same

You can call it love but I don’t think it’s true
You should know by now
I’m not the boy for you
You’re not to blame
Always ends the same

I know you think that you’re safe
Sister
Harmless affection that keeps things this way
It’s the ones who persist for the sake of a kiss
Who will pay and pay
Cowboys and angels
They all have the time for you
Why should I imagine that I was designed for you
Why should I believe
That you would stay

But that scar on your face
That beautiful face of yours
Don’t you think that I’d know
They’ve hurt you, before

Take this man to your place
Maybe his hands can help you forget
Please be stronger than your past
The future may still give you a chance
The future, the future, not the past

That scar on your face
That beautiful face of yours
Don’t you think that I know
They hurt you before