Friday night was the coldest night we’ve experienced in SE6 in a long time, made even colder when we discovered that, for some unknown reason, the boiler had packed-up.
This probably would have gone unnoticed if the OH hadn’t have given away the curtains to someone on the local community Facebook group.
He is of course right, the yellow in the curtains didn’t really go with the new greeny-grey walls. The living room looks a whole lot better without them. Even so, the double-layer interlining might have helped fend off the intense chill.
Whilst we were waiting for Bento to deliver, a decision had to be made to pull a podcast recording. I in-part I was gutted. I’d done the legwork.
Neil Sedaka Love Will Keep Us Together
We couldn’t agree on whether it was an acoustic guitar or a ukulele in the production towards the end of the chorus. But what we were in agreement on was the rich combination of sounds in the mix. A piano, a perky crawling bass line, a bit of Hammond organ (if I’m not mistaken), and some kind of plucked strings giving the thing an unexpectedly summery Mediterranean feel.
Olivia Newton John Sam
We listen to this a lot, but I’ve never really stopped to consider where in her canon it resides – number six in the 1977 UK charts. (Clearly Eurovision 1974 didn’t do her that much harm.)
When we listened more closely to it, we were amazed at the number of chords in it.
Now I come to listen to it again tonight, I realise it’s actually a waltz. Which then makes me wonder why it hasn’t featured in a Strictly running order before now. It’s really rather beautiful.
Structurally there’s something a little restless about the melody – a strange juxtaposition of the neat three beats with a melody that feels like it stretches over an uneven five bars. That restless quality masks the waltz in a similar way the numerous chord progressions are partially hidden.
It amazes me that one of its writers is Hank Marvin from The Shadows, the UK’s act for the 1975 Eurovision.
Dean Lewis Waves
I think we heard this first on Graham Norton’s TV show but a quick search of Google suggests that can’t be the case. I’m not entirely sure where we heard it first, but when we listen to it we hear bits of Keane, and a smattering of Coldplay. A beautifully crafted pop song that delays gratification for a near-minute and a half. Tight, trim and lean.
Status Quo Rock ‘Til You Drop
I’m going to write about this more in another Twenty Years Ago Today post in the next few days. But for now, this reworked acoustic version of Andy Bown’s 1991 song for the band with its heart-breaking violin countermelody (the cello’s version tries to compete but doesn’t quite make it) reduces me to tears every time I hear it. There is so much wrapped up in this song for me that listening to it needs to be diarised.
Barbra Streisand Superman
It’s sort of Barbra trying to Karen Carpenter, at least in terms of material. The problem with it we suspect is that Babs’ delivery needs a bit more support. We’d like to think it’s the mix missing the necessary bottom end, but we fear it’s because, unlike Linda Eder, Barbra just can’t belt. Still, the soaring strings in the middle eight are a descant-lovers delight.
Shortly after we tucked into the Bento, previously reasonably robust plans for a Sunday podcast-record fell through. I suggested pulling it – there had been no response from one of the contributors. The third blow out (from the same person) this week. A bit gutted. Wondered whetherI’d come a bit too strong. Made me feel a bit sour.
Shame on him. Discourteous not to respond. Tut tut.