1989 was a tricky year. 20 years old. The aftermath of 19 still fresh on my insides, and outsides. I was living life like there was no tomorrow while carrying scars from all my yesterdays, ones that were recent, and ones from my childhood. I wasn’t jaded though. Not yet. Maybe I should have been.
I am becoming so jaded now.
Today’s Song of the Day is from 1989. I listen and feel that self again. I’m envious of how hopeful she was, despite all the things that had happened. I’m envious at how much she believed in the future, in love, and in understanding. At least I still have the music she had. I’m grateful for that. And that I keep myself open for more music. Always more music.
But, for today, I’m looking backward. Pulling a song from 20-year old me’s collection. One of her favorites.
“A Strange Kind of Love (Version 1)” by Peter Murphy
from the album, Deep (1989)
Song of the Day
“This is no terror ground,
or place for the rage,
no broken hearts,
Just a taste for the truth,
perfect taste choice and meaning.
A look into your eyes.”
I was up most of the night last night in conversation with myself. My emotions have been so raw lately. My self-esteem at the lowest its been since my late 20’s. Anxiety and fear holding most of the cards, insecurity and doubt and deep sadness holding the rest of the deck. I know I need to make some major changes, but I don’t know how to anymore. So, for now, I’m putting my walls back up. I have to do something. I can’t survive like this. And I see the damage it’s causing all around me.
When people who you love, who say they love you, look at you so differently, have so little patience, and so much anger and disdain, well you know it’s not good. When you fight more than not fight, when things change too fast, too soon, well you know it’s not good. And when your children worry about you, openly, and say you are different, that you aren’t doing the things you used to, that you always seem so unhappy, well you know it’s not good.
For now, the walls come up and I shut down. At least until I feel okay again, that I can trust being open again, that I can keep my emotions in better check again.
If I don’t do this I will get sick again. I already am headed that way, and I won’t let that happen again.
And, if I don’t do it I will drown in tears.
I can’t cry anymore.
I just can’t.
So walls, while I try to rebuild, sort out what I need to do, and heal. Walls and music.
“A Strange Kind of Love” (live) by Peter Murphy
“Red” is the 3rd track off of Belly’s 2nd album, King, which was released in 1995. Though I “came of age”, so to speak, in the ’80s, it’s the ’90s that feel more like my coming of age soundtrack. Maybe that’s because I was in my 20’s in the ’90s, and that was the decade of the biggest changes in my life. I changed a lot. I grew a lot. I fell a lot. I got back up a lot. And, I loved the music – a lot.
“Red” by Belly
from the album, King (1995)
Song of the Day
“Red, you look tired,
you look older than your mother.
Where should I not touch?
What should I not kiss?
Where does it hurt?”
It was the decade of women in music for me. I was a Lilith Girl, a riot grrrl, a goth girl, and a huge fangirl of the plethora of fantastic females in music at the time. I’d discovered Tanya Donelly during her stint in Throwing Muses, but it was Belly that really got me getting her. It was Belly that made me a lifelong Tanya-fan.
I’ve written quite a bit about Belly’s first album, Star. I wrote a feature on the album even. I’ve written about many songs from that album, too. This morning I was realizing that I’d not delved into King much at Lyriquediscore, despite the fact that the album, and the tracks within, were a big part of my life in 1995, and beyond.
One of the first songs I heard today was “Red”, today’s Song of the Day, which got me thinking about the album King, the band Belly, and who I was in those mid-90’s days.
I was 26. I had a 3-year-old daughter and a failed marriage. I was working at a record store and failing at relationships. My heart was flung across the states to an almost island town, but the rest of me was still in a small Orange County suburb trying hard to grow up and get my shit together.
My childhood scars had a life of their own. I hadn’t done much healing. I felt so much older than my young years. All my worst habits were baring their teeth at the world, and I was hurting so much more than I ever let on. But, I was also writing. I was listening to so much music. And, I was surviving. Even at the worst of it, I was still surviving.
I spent a lot of time by the ocean. I spent a lot of time at record stores. I spent a lot of time not sleeping and smoking Marlboro Lights. I spent a lot of time watching movies and writing in lined-composition books. I spent most days in baby doll dresses, crushed velvet, and granny-boots.
I may have sucked at love, but I had great friends. We went to shows together. We went to movies. We took day trips with my daughter in the backseat. We obsessed over TV shows like “My So-Called Life:” and “Twin Peaks”. We climbed up in lifeguard towers at night to confide in each other. We fell in love with bands and record albums, with drinking too much and not eating enough, and sometimes with each other.
I listen to “Red” and the thing that hits me the most is mood swings in the song. They remind me of myself, in 1995. My moods ever-changing, fueled by chemicals and an eating disorder, by so much music, and not enough sleep. I was dramatic. I was emotional. I was a whirling dervish of movement. I was wired and tired and lit on fire most days. I was a beautiful wreck of a girl-trying-to-be-a-woman. I felt a lot like this song sounds.
“Red” (live, 1995) by Belly
“Extraordinary” was the 2nd single off of Liz Phair’s 4th studio album, which was self-titled. Today’s Song of the Day, “Extraordinary”, was released as a single in January of 2004.
“Extraordinary” by Liz Phair
from the album, Liz Phair (2003)
Song of the Day
“I am extraordinary,
if you’d ever get to know me.
I am extraordinary,
I am just your ordinary,
average everyday sane psycho –
Average everyday sane psycho.”
An underrated song from an even more underrated album. Liz Phair is so much more than the alt-goddess-groundbreaker-indie-icon of 1993’s Exile In Guyville (even though that Liz is pretty fantastic, too).
I remember her 2003 self-titled album coming out and people dissing it for being “too pop” and/or not “edgy” enough. Putting Liz in a box that she was supposed to never grow out of, expand from, or travel away from. Thing is, yes, there is a lot of pop-sensibilities going on in 2003’s Liz Phair, but there always was. Dig deeper. Take in the lyrics. To me, songs like “Extraordinary” are groundbreaking, too.
Here are some takes on “Extraordinary” via Wikipedia:
The song garnered mixed reviews from music critics, who were dissatisfied with her attempt to go mainstream. Slate’s Mim Udovitch said that Phair sounds “bogus,” while PopMatters called the song “sickeningly effervescent.”
Some critics were more complimentary towards the song, however. Chuck Klosterman, writing for Spin, praised the song’s “authenticity,” while Allmusic noted that it was one of its parent album’s highlights. Michael Paoletta of Billboard called the song “ultra-catchy” and “oh-so-buoyant”.
Thank you, Chuck Klosterman (always love him). I agree re: the song’s authenticity. And yes, it is catchy and buoyant, and that heavy guitar riff at the beginning is everything. Also, I adore the lyric “I am just your ordinary average everyday sane psycho super goddess”.
To me, that is giving the finger to society who tries to put women in a box, make them one thing, keep them in some forever aspirational pedestal that no one can balance on. Society does it the most to women in the spotlight, be it film, fashion, or music. I love that she’s breaking molds again, singing about taking the trash out and obsessing over someone she’s crushing on. Ordinary and psycho like the best of us.
“Extraordinary” (live) by Liz Phair
What do you think of “Extraordinary”?
The first time I heard Today’s Song of the Day, “To Be Completely Honest” by Dawes, it was live, at The Masonic Lodge at the Hollywood Forever Cemetary. The album, All Your Favorite Bands, which this track is from, had just been released that day, and the band was showcasing it at this live show. I’d been into Dawes for a while before that, but after this album, and seeing and hearing them play it live, I became a forever fan.
“To Be Completely Honest” was, and still is, my favorite from the album. It is one of my Top 5 favorite Dawes songs, too.
“To Be Completely Honest” by Dawes
from the album, All Your Favorite Bands (2015)
Song of the Day
“To be completely honest,
I think I know how it ends:
the universe continues expanding,
while we discuss particulars of just being friends.”
This song may be one of the most “honest” breakup songs I’ve ever heard. It is filled with the roller coaster of emotions that happen when in the midst of, and after, the ending of a relationship. The quote above especially hits deep because really, how many of us haven’t been there?
Whether you are the one being left, or you are the one that’s leaving, the idea of negotiating to be friends after, one of those things that “look good on paper”, but is so hard to make a reality, is just impossibly awful to hear. And really, to say.
The album, All Your Favorite Bands is said to maintain a theme of sentimentality and nostalgia, looking backward and wishing well friends and lovers with a very universal thought that all your favorite bands stay together.
To me, it iterates the idea that music is personal and vital to human existence, that love may fade, friends may drift apart, but your favorite music, and bands, they stay with you forever.
“To Be Completely Honest” embodies all of this, and then some, to me.
“To Be Completely Honest” (live) by Dawes
I was sad to hear that Ranking Roger (Roger Charlery) passed away. Today I’ve been listening to music from The English Beat/The Beat and General Public today, in musical-tribute. General Public’s album, All the Rage, which was released in 1984, meant so much to me. It was one of my mid-80’s favorites, and I have so many memories of listening to the album in-between classes, or while dancing and/or singing-a-long in my bedroom. I was 15 and everything revolved around music.
I revolved around music, too. I still do.
“Hot You’re Cool” by General Public
from the album, All the Rage (1984)
Song of the Day
“So hot you cool,
so cool you hot.
Show me my favorite beauty spot.
Tie me up in a love knot,
The first track off of All the Rage was my absolute favorite. It was catchy and edgy, and undeniably sexy.
It seemed sexier than my age. Aspirationally sexy, one might say.
I wanted to be the subject of so much desire, or have that kind of desire for someone that didn’t live in record albums and posters on my wall. Or maybe from one of those living in my albums and posters.
Though “Never You Done That” is a close second to the opening song, it was always “Hot You’re Cool” I’d return to, turning the volume up loud, singing and dancing-a-long.
Mick Jones from The Clash worked on General Public’s All the Rage, though he left soon after its release.
I never got to see General Public or The Beat/The English Beat play live. I wish I had.
Music life lesson #56: Always see the show/band/artist play live when you can. Always.
“Hot You’re Cool” (live) by General Public
“Choose Drugs” is the 3rd Track off of Juliana Hatfield’s 4th solo album, Beautiful Creature. An often underrated album, Beautiful Creature is one of my favorites. It has so many fantastic songs, like this one, that has stuck and stayed with me ever since I first listened.
“Choose Drugs” by Juliana Hatfield
from the album, Beautiful Creature (2000)
Song of the Day
“I say it’s me or drugs,
you choose drugs.”
This song is sometimes very hard to listen to, yet it is one of my favorite tracks by Juliana Hatfield. It brings up old hurts of a past relationship that shattered, and the enormous loss that came with it.
The battle was brutal, cruel, and I suppose futile, but I fought it for years. I would scream, cry, beg, plead and sometimes just smile and pretend it was all okay, pretending, as well, that he would choose me, and us, instead. It hurt more than I have words to say that he never did.
It also brings up the reality that with few exceptions my relationships have been shadowed by the presence of drugs in my partners. It somehow always gets in the way, hurts what we have, and eventually becomes something I have to be responsible for. Whether it’s dealing with the consequences and downfalls or being the one who has to say enough, or please stop.
I wonder what it is about me that continues this trend. Is it a co-dependency in my personality? An enabling nature in me? Is it a pattern created by what is familiar? Or is it embedded in my DNA, a legacy of depression, anxiety, and addiction coursing through my veins, helping to navigate where I land?
Is there a way to stop the pattern? Is it something I need to fix in me? If so, what is it exactly? Maybe I just need to focus on myself, what I do and don’t do, and keep striving for being happy in the present, mindful, grateful, hopeful, and focusing on love.
“Choose Drugs” (live) by Juliana Hatfield
“Nightswimming” by R.E.M. was released in 1993 as the 5th single from the band’s 8th album, Automatic for the People, which was released in 1992. The song is a ballad featuring singer Michael Stipe accompanied by Mike Mills on piano, a string arrangement by former Led Zeppelin bassist John Paul Jones, and a prominent oboe played by Deborah Workman towards the latter part of the track.
I’ve always felt that the oboe is what set this song apart, and makes it all the more memorable.
“Nightswimming” by R.E.M.
from the album, Automatic for the People (1992)
Song of the Day
“The photograph on the dashboard,
taken years ago.
Turned around backwards so the windshield shows,
every streetlight reveals,
the picture in reverse.”
Michael Stipe sings about a group of friends who go skinny dipping at night, which he claims was him drawing similar experiences from R.E.M.’s early days.
Bassist Mike Mills recalled that he was playing a piano riff at John Keane’s studio in the band’s hometown of Athens, Georgia. At the time he almost discarded what would become the melody to “Nightswimming”. Michael Stipe heard it and was immediately attracted to its sound.
Mills recalled: “I never thought it would amount to much because it was just a circular thing that kept going round and round and round. But it inspired Michael.” (from Wikipedia)
While the song was not included on Out of Time, the demo recorded during those sessions was used for Automatic for the People, with a string arrangement by John Paul Jones added to the track.
Mills has also claimed he recorded the piano part at Criteria Studios in Miami, on the same piano used by Derek and the Dominos on the recording of “Layla”. He has described his piano playing on the track as “circular”.
“Nightswimming” was performed solely by Micheal Stipe and Mike Mills; Stipe sings while Mills plays the piano. R.E.M. guitarist Peter Buck noted that the absence of drummer Bill Berry and himself from the song was typical of MANY tracks on Automatic for the People, where one or more band members would not appear on a given track.
The song’s inspiration has been a subject of debate among the band members. Stipe, in a 2001 interview with Esquire, suggested an origin of the song:
“A few years ago, I wanted to write a song about night watchmen, so I hired one to guard the R.E.M. offices in Athens. I bought him a uniform and a flashlight and everything. He turned out to be kind of crazy and called me up in the middle of the night to tell me dirty stories about the Kennedys. I wrote the song about him, but he was so paranoid he said he was going to sue me, so I changed the lyric from ‘Night watchman’ to ‘Nightswimming.’”
Mills has another story: “It’s based on true events.”
He went on to explain that in the early 1980s R.E.M. and their circle of friends would go skinny dipping after the Athens clubs closed at night.
“We’d go to parties, we’d go to the clubs and we’d go to the Ball Pump, and there would be any number of these same 50 people, so it was a very tight circle of friends.”
Peter Buck holds a similar interpretation. However, Stipe has denied that that is the topic of the song; rather, Stipe says the song is about:
“[a] kind of an innocence that’s either kind of desperately clung onto or obviously lost.” (from Wikipedia)
More theories persist about what “Nightswimming” is about/is inspired by. Another account suggests that it is a nostalgic look back by Stipe to his childhood spent on the secluded shores of lakes and ponds.
For many American teens, these secluded shores serve as one of the few places of freedom and autonomy in their lives, which accounts for the strong and fond memories that Stipe may have of this place.
In this rare place free from the influence of authority figures and structure, the teens become their true selves in a Romantic/Transcendentalist sense. As such, the memories of the place are fond, but the feelings are unattainable as life’s realities and responsibilities make it impossible to ever be that same Romantic “true self” again.
If “Nightswimming” is part lies and part truth, that’s all the better for a song about memories. “It describes something that I touched on a lot later on the record Reveal,” Stipe said, “which was kind of the summer as an eternity, and kind of innocence that’s either kind of desperately clung onto or obviously lost.” In this song, the situation falls into the latter category. “These things they go away,” Stipe croons, “replaced by everyday.” (from DiffuserDiffuser)
“Nightswimming” (live) by R.E.M.
For me, the song unlocks a memory of my own. It goes something like this.
Years ago, in the company of two good friends, we sat parked by the ocean. We were driving up the coast to Santa Barbara and had stopped to take a picture. This was pre-cell phones and pre-selfies. The windows were all rolled down and a late August breeze blew into my red Honda hatchback.
I snapped a picture of the three of us, huddled together, smiling with sunglasses on. I look at that photograph now and recognize the shine of youthful dreams on our skin.
There is a second photo, too. It is our reflection of us in the rear view mirror. An accidental shot that is slightly blurry. Sometimes I prefer it because there is something about it that captured the moment off-guard. It feels so honest and vulnerable and stolen.
Recorded in 1971, “A Case Of You” was first released on the 1971 album Blue with Mitchell playing an Appalachian dulcimer, accompanied by James Taylor on acoustic guitar.
“A Case Of You” by Joni Mitchell
from the album, Blue (1971)
Song of the Day
“I remember that time you told me, you said,
‘love is touching souls’,
surely you touched mine,
’cause part of you pours out of me,
in these lines from time to time.”
Mitchell is said to have written “A Case Of You” in, or before, 1970. As with many of the songs on Blue, her break-up with Graham Nash is often cited as the inspiration for the song. It has also been said to be about Leonard Cohen. (from Wikipedia)
I kinda like picturing the last rumored inspiration. Something about “A Case Of You” being from an album called Blue, and Cohen’s song “Famous Blue Raincoat”, wants to reside in my imagination as a musical connection to each other. I’m sure they are not related, but I can tie those sonic strings together and see how they could connect.
Mitchell’s earliest public performances of “A Case of You” contain six lines that had changed by the time Blue was recorded. The line “I am as constant as a northern star” is an allusion to Caesar’s “I am constant as the Northern Star” from the Shakespeare play Julius Caesar, while the quoted line “Love is touching souls” is inspired by the German poet Rainer Maria Rilke. (from Wikipedia)
“A Case Of You” (live, 1974) by Joni Mitchell
My mother loved Joni Mitchell when I was growing up. She was part of her female folk singer obsessions. Joni was at the top of the obsession list. I remember hearing her music as a child, both in our living room and in our light blue station wagon. My mother always loved music. She instilled that love in me. I owe a lot of my own music obsessing to her.
All those trips to record stores. Her glorious stacks of albums. Those giant speakers in our living room that I would lie down next to, listening, and closing my eyes to the sounds, dreaming myself into every song. And those giant headphones that were almost bigger than I was. How I could completely disappear when I wore them. It felt like it was just me and the music back then.
When I grew up some, when I hit my adolescent years, it was then that I shrugged off much of my mother’s musical obsessions, replacing them with my own. I think it was all part of the coming-of-age/rebellion phase that every young person has to go through. I wanted music to be all mine, and I wanted my obsessions to be my own, too. Sure, there was some carryover. I mean, you really can never leave The Beatles behind, and my love for Fleetwood Mac stayed perfectly intact.
But, so many other albums and songs got lost in my quest to build my own life soundtrack. Joni and Blue and “A Case Of You” were thrown aside for a while.
Joni Mitchell’s album Blue, and my favorite track off of it – “A Case Of You” – was one of those (re)discovery gifts. One I’m so glad I allowed myself to have. When I play it now, at 50, and I can hear my mother singing it in our kitchen, or while driving me to school.
I can also hear myself singing it in my first apartment, or while rocking my first child to sleep in the middle of the night. I listen and remember driving up the coast with friends, all of us singing-a-long.
“A Case Of You” has made its way into mixtapes and playlists. The song feels like part of my childhood memories, part of my twenties, and part of my now, all at the same time. It feels like today, as much as many different yesterdays.
Another “A Case Of You” memory:
As children, my two closest friends and I would build the kind of forts you make with blankets and chairs backed up into each other, with tunnels added with the help of the TV tray tables we got from my Grandparents one Christmas. My friends and I shared one flashlight between us, and we would pass it off to each other when it was our turn to tell our version of the “scariest story”.
Sometimes we would lie on our backs, our feet outstretched and poking a little outside of our “suburban campsite”. The light and shadow casts would play in-between the crinkles and bends in the blankets, and we would point out shapes as if they were a ghostly set of clouds for us to name, and make into our scariest story shadow characters.
Our parents were all in the front room, music playing loudly, their wine-soaked laughter competing with the sound. Sometimes I would try to incorporate the songs into my story, ghosts carved out of Joni Mitchell lyrics overheard. “A Case of You” was my favorite for such a telling. Something about being “constantly in the darkness” and drinking an entire case of something (in my “scariest stories”, they were potions and poisons) worked really well.
Sometimes I wish we’d written all our stories down.
“Happy Birthday” is a 1981 single by Scottish New Wave band, Altered Images. It is the title track from the band’s debut album. The song peaked at #2 on the UK Singles Chart. It is my favorite “birthday” song.
“Happy Birthday” by Altered Images
from the album, Happy Birthday (1981)
Song of the Day
The track was produced by Martin Rushent, who also produced The Human League the same year, and went on to produce the band’s second album, Pinky Blue. “Happy Birthday” was the only song on their debut album that Rushent produced. (from Wikipedia)
My first initial music-memory this song elicits is the John Hughes’ film, Sixteen Candles, a movie I would first see while on vacation with my Grandmother on Catalina Island.
Those opening notes of “Happy Birthday” always remind me of the movie and my lifetime love of Molly Ringwald.
So, today is my birthday. My 50th. A big year, no doubt. As a present to myself, I’ve decided to relaunch Lyriquediscorde. I really did think it was over, but my obsessions with music and movies and books and TV, and writing about them – well that’s just never going to be over.
There will be some changes. It will no longer be music-focused, though music will always play a big part. There will be more personal posts, more memoir-type essays, as well as posts that focus on bigger themes. That said, I will still be sharing my songs of the day, as well as my Top 5 music obsessions of the day, along with movies of the day, Top 5 weekly lists, playlists, and some of the other special features that have been here since I started this space a little over eight years ago. I hope you stick around for the changes and participate by sharing your thoughts and reactions in the comments.
Altered Images were an early 80’s Scottish New Wave/Post-Punk band fronted by Clare Grogan. The band had six UK Top 40 hits during their career, between the years of 1981-1983. (from Wikipedia)
Their big hits included today’s Song of the Day – “Happy Birthday“, “I Could Be Happy” (my all-time favorite track of theirs), “See Those Eyes”, and “Don’t Talk To Me About Love”.
“Happy Birthday” (live, 1981) by Altered Images
If you like what you hear with “Happy Birthday“, and if this is your first Altered Images song, check-out the entire album Happy Birthday. Some of my favorite tracks (besides this one) are “A Days Wait”, “Faithless”, and “Midnight”.
Happy Birthday was Altered Images debut album. Released in 1981, it featured today’s Song of the Day – “Happy Birthday” – the band’s biggest ever hit. The album reached #26 in the UK Album Charts and was certified Silver by the BPI for sales in excess of 60,000 copies. (from Wikipedia)
I used to have the album on vinyl. I remember finding it in a bin at Music Market, one of my favorite record stores in the ’80s. They had an amazing “Import” section full of so much New Wave and Post-Punk music (my go-to/favorite music genre in my teen years). It was a few years after its release, in 1985, I believe, when I first found the album and made it my own.
The album was re-issued on 180-gram black vinyl LP with a bonus 7″ on red vinyl, in 2016, and then again in 2017, for Record Store Day, this time on 180-gram black vinyl with additional tracks. I’d love to get my hands on either of these re-releases or at least a copy of the original release that I once had.
I love how the album starts and ends with pieces of the song “Happy Birthday” (“Intro: Happy Birthday” and “Outro: Happy Birthday”). This makes Altered Images Happy Birthday one of the best choices of albums to listen to on my birthday today – thank you for that, Altered Images.
I wrote about today’s Song of the Day – “Happy Birthday” back in 2014, as well. You can go back in time and check it out here.
What is your favorite birthday song?
I’ve been having a bit of an ’80s flashback day today (well, maybe more than a bit), and as all mixtapes I made in the ’80s include The Cure, it’s only fitting that I pick a Cure song for today’s Song of the Day.
All this musical-nostalgia is helping today be an all-around good day. There was rain, but no flat tire this morning (a plus!), and I had coffee with one of my daughter’s before work. It’s my oldest daughter’s twenty-seventh birthday today, though we won’t get-together for our annual shopping-lunch-movie extravaganza until Monday. There’s dinner at home cooking in the crockpot (no “This Is Us” fires though…please), and plans to enjoy it with my love while we make our way through season two of “The Marvelous Mrs. Maisel” (which I may be unpopular saying, but I don’t find it all that marvelous).
And all this ’80s music turned up as loud as I can in my office. Yes, it is helping a lot. One of my anxiety coping skills is listening, singing-a-long, and turning up as loud as allowed…MUSIC.
The Cure’s song “Catch” is Today’s Song of the Day.
“Catch” is track two off of The Cure’s 1987 studio album, Kiss Me Kiss Me Kiss Me. The song was released as a single in the UK, but not in the US. It hit #27 on the UK Singles Chart, in 1987.
“Catch” by The Cure
from the album, Kiss Me Kiss Me Kiss Me (1987)
Song of the Day
“And she used to fall down a lot.
That girl was always falling,
again and again.
And, I used to sometimes try to catch her,
but never even caught her name.”
As “Catch” wasn’t released in the US, the b-sides were used for the US release of “Just Like Heaven”. The song was covered by Art Brut for the NME CD, Pictures of You – a tribute to Godlike Geniuses The Cure.
“I first heard ‘Catch’ when I was quite young,” remarked the group’s Eddie Argos in an accompanying feature (NME, 28 February 2009). “It was only when got older and started going out with girls that I realized how romantic it was.”
“Catch” by Art Brut
It was also covered by Dashboard Confessional.
“Catch” by Dashboard Confessional
None of the covers can compete with The Cure’s original version. At least not to me.
The song’s lyrics, as written by Robert Smith, were inspired when Smith caught a broadcast of the Sylvester Stallone written film ‘Rocky 2’ in which Rocky’s wife Adrian falls into a coma during childbirth.
In a desperate hope to revive his wife, Rocky writes a poem for Adrian which at one point reads “…..and you kept trying to slip so I could catch you….”
This moment moved Smith and years later when Stallone caught wind of this, he asked The Cure to write the theme song for his 1995 movie ‘Judge Dredd’. Smith, a lifelong fan of the British comic book series, immediately began work on ‘Dredd Song’. (from Wikipedia)