♫ Hey Jude ♫ (Redux)

I have been meaning to redux this one since sometime in March, and hadn’t gotten around to it yet.  Last time I played it a couple of years ago, I included a new version comprised of not only the Beatles, but including Eric Clapton, Elton John, Sting, Phil Collins and more.  After I posted it, Clive did some research and found that this was part of a larger project, a benefit concert called Music for Montserrat.  According to Wikipedia …

Music For Montserrat was a benefit concert held on 15 September 1997 at the Royal Albert Hall. The event was organised by Sir George Martin, former producer for The Beatles and founder of Associated Independent Recording, to raise funds for the Caribbean island of Montserrat after a major volcanic eruption by the Soufrière Hills volcano earlier that year.

The concert was arranged and produced by Martin, and starred many iconic British and American rock musicians such as Phil Collins, Ray Cooper, Carl Perkins, Jimmy Buffett, Mark Knopfler, Sting, Elton John, Eric Clapton, Paul McCartney, Midge Ure, Arrow and many more, all of whom had once recorded or produced on the island. A DVD was released with the most famous songs from the concert, such as “Your Song”, “Layla”, “Brothers in Arms”, “Blue Suede Shoes”, “Money for Nothing”, “Yesterday”, “Hey Jude”, and “Message in a Bottle”.

Proceeds from ticket sales and DVD copies went towards restoration and support of the island. The concert raised £1.5 million.  Proceeds from the show and DVD were used for immediate relief and also helped fund the building of a new cultural centre in Montserrat. On its completion in 2006, George Martin gifted the centre to the local community, which is still in operation today.

Somehow, knowing that makes the video even more meaningful.  But about the song …

Released in 1968, Paul McCartney wrote this as “Hey Jules,” a song meant to comfort John Lennon’s 5-year-old son Julian as his parents were getting a divorce. The change to “Jude” was inspired by the character “Jud” in the musical Oklahoma!

Says Paul McCartney …

“John and his wife Cynthia had divorced, and I felt a bit sorry for their son, who was now a child of a divorce. I was driving out to see the son and Cynthia one day and I was thinking about the boy whose name was Julian – Julian Lennon, and I started this idea, ‘Hey Jules, don’t make it bad, it’s gonna be OK.’ It was like a reassurance song.

So that was the idea that I got driving out to see them. I saw them and then I came back and worked on the song some more. But I like that name, Jude.”

And according to the all-grown-up Julian Lennon …

“Paul told me he’d been thinking about my circumstances, about what I was going through and what I’d have to go through. Paul and I used to hang out quite a bit – more than Dad and I did… There seem to be far more pictures of me and Paul playing at that age than me and Dad. I’ve never really wanted to know the truth of how Dad was and how he was with me. There was some very negative stuff – like when he said that I’d come out of a whisky bottle on a Saturday night. That’s tough to deal with. You think, where’s the love in that? It surprises me whenever I hear the song. It’s strange to think someone has written a song about you. It still touches me.”

At the time of its release, it was the longest song ever released as a single.  Hey Jude was a number-one hit in many countries around the world and became the top-selling single of 1968 in the UK, the US, Australia and Canada.

Hey Jude
The Beatles

Hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better

Hey Jude, don’t be afraid
You were made to go out and get her
The minute you let her under your skin
Then you begin to make it better

And anytime you feel the pain
Hey Jude, refrain
Don’t carry the world upon your shoulders
For well you know that it’s a fool
Who plays it cool
By making his world a little colder
Na-na-na, na, na
Na-na-na, na

Hey Jude, don’t let me down
You have found her, now go and get her (let it out and let it in)
Remember to let her into your heart (hey Jude)
Then you can start to make it better

So let it out and let it in
Hey Jude, begin
You’re waiting for someone to perform with
And don’t you know that it’s just you
Hey Jude, you’ll do
The movement you need is on your shoulder
Na-na-na, na, na
Na-na-na, na, yeah

Hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you’ll begin to make it better
Better better better better better, ah!

Na, na, na, na-na-na na (yeah! Yeah, yeah, yeah, yeah, yeah, yeah)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude (Jude Jude, Judy Judy Judy Judy, ow wow!)
Na, na, na, na-na-na na (my, my, my)
Na-na-na na, hey Jude (Jude, Jude, Jude, Jude, Jude)
Na, na, na, na-na-na na (yeah, yeah, yeah)
Na-na-na na, hey Jude (yeah, you know you can make it, Jude, Jude, you’re not gonna break it)
Na, na, na, na-na-na na (don’t make it bad, Jude, take a sad song and make it better)
Na-na-na na, hey Jude (oh Jude, Jude, hey Jude, wa!)
Na, na, na, na-na-na na (oh Jude)
Na-na-na na, hey Jude (hey, hey, hey, hey)
Na, na, na, na-na-na na (hey, hey)
Na-na-na na, hey Jude (now, Jude, Jude, Jude, Jude, Jude)
Na, na, na, na-na-na na (Jude, yeah, yeah, yeah, yeah)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude (na-na-na-na-na-na-na-na-na)
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na (yeah, make it, Jude)
Na-na-na na, hey Jude (yeah yeah yeah yeah yeah! Yeah! Yeah! Yeah! Yeah!)
Na, na, na, na-na-na na (yeah, yeah yeah, yeah! Yeah! Yeah!)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude

Songwriters: John Lennon / Paul McCartney
Hey Jude lyrics © Sony/ATV Music Publishing LLC

♫ Take Me Home ♫ (Redux)

I must admit that I stole the idea for tonight’s song from my friend, Michael Seidel, who featured it in his own post yesterday, though he posted a different, slightly longer version!  Thanks, Michael, for planting the seed in my head — Hugs ‘n cheers!

The only other time I have played this one was in 2019, when I had Phil Collins on my mind after hearing that …

Phil was performing at the Spectrum Center in Charlotte, North Carolina, when he suddenly took a tumble.  That’s right, folks … fell down backward off the stool he was about to sit on.  But, as is the trademark of the true entertainer, “the show must go on”, and Phil barely missed a beat, got back up and continued to play and sing.

“I’m gonna be sitting down for a lot of tonight. But don’t be alarmed.  Getting old sucks. You know, back surgery, foot’s f—-d. It’s ugly. … But hey … I’m not dead yet.”

Take Me Home is often misconstrued to be about a man returning home, but Collins tells that the song’s lyrics refer to a patient in a mental institution, and that he was inspired by the novel One Flew Over the Cuckoo’s Nest. Sting and ex-Genesis band mate Peter Gabriel sang backup vocals. Also featured is former Culture Club backing singer Helen Terry.

This is one of Collins’ favorite songs in his catalogue. It has been in his setlist since the No Jacket Required tour, and is typically the last song he plays.

Take Me Home
Phil Collins

Take that look of worry
I’m an ordinary man
They don’t tell me nothing
So I find out what I can
There’s a fire that’s been burning
Right outside my door
I can’t see but I feel it
And it helps to keep me warm
So I
I don’t mind
No I
I don’t mind

Seems so long I’ve been waiting
Still don’t know what for
There’s no point escaping
I don’t worry anymore
I can’t come out to find you
I don’t like to go outside
They can’t turn off my feelings
Like they’re turning off a light
But I
I don’t mind
No I
I don’t mind
Oh I
I don’t mind
No I
I don’t mind

So take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
Oh Lord,
‘Cause I’ve been a prisoner all my life
And I can say to you

Take that look of worry
Mine’s an ordinary life
Working when it’s daylight
And sleeping when it’s night
I’ve got no far horizons
And I wish upon a star
They don’t think that I listen
Oh but I know who they are
And I, I don’t mind
No I, I don’t mind
Oh I, I don’t mind
No I, I don’t mind

So take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home, oh lord
Well I’ve been a prisoner all my life
And I can say to you

But I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember
Take, take me home
‘Cause I don’t remember

Songwriters: Phillip David Charles Collins
Take Me Home lyrics © Concord Music Publishing LLC

♫ That’s All ♫

This is not the first song that comes to mind when I think of Phil Collins, but it is one of my favourites anyway!   The opening notes get my toes tapping and I hope they will yours as well!


One of my all-time favourite singers is Phil Collins, who got his start with British rock band Genesis.  Genesis keyboard player Tony Banks was one of the first to use an Emulator, which was one of the first digital samplers (it was introduced in 1981). Banks would record his bandmate Mike Rutherford as he noodled around on his instruments, then play around with those samples to craft a track, which is how this song developed.  Says Banks …

“We were just improvising in the studio and Mike was playing a bit on guitar.  With the Emulator, I was able to sample bits and pieces as we were going along. I sampled this bit of Mike’s, which didn’t sound very good, so I actually slowed it down to about half or quarter speed, and it sort of played a suggestion of the riff that became ‘That’s All.’ It wasn’t quite the same, but it had a suggestion of it.

I played it on the piano like that, and I thought, this is really good. Phil went at it with a sort of ‘Rocky Raccoon’ style drumming on it, which made it something it hadn’t really been at all in the first place. Then I just wanted to keep it simple, chord-wise, and let it go where it would, rather than trying to combine it with another bit, which is sometimes what we used to do. We really let the song develop in itself, and I was pleased with that. That’s a simpler Genesis song, but one that really works.”

That’s All was Genesis’ first Top 10 hit in the U.S., setting the stage for their tremendous success the rest of the decade as they adapted their sound from obtuse progressive rock to tighter pop songs.  This song went to #6 in the U.S., #14 in Canada, and #16 in the UK.

Until I first played this back in 2020, I did not realize that the Mike Rutherford of Genesis is also the Mike in Mike and the Mechanics!  See, I’m not too old to learn new things!

That’s All
Genesis

Just as I thought it was going alright
I find out I’m wrong, when I thought I was right
It’s always the same, it’s just a shame, that’s all
I could say day, you’d say night
Tell me it’s black when I know that it’s white
It’s always the same, it’s just a shame, that’s all

I could leave but I won’t go
Though my heart might tell me so
I can’t feel a thing from my head down to my toes
So why does it always seem to be
Me looking at you, you looking at me
It’s always the same, it’s just a shame, that’s all

Turning me on, turning me off
Making me feel like I want too much
Living with you’s just putting me through it all of the time
Running around, staying out all night
Taking it all instead of taking one bite
Living with you’s just putting me through it all of the time

I could leave but I won’t go
It’d be easier I know
I can’t feel a thing from my head down to my toes
But why does it always seem to be
Me looking at you, you looking at me
It’s always the same, it’s just a shame, that’s all

Truth is I love you
More that I wanted to
There’s no point in trying to pretend
There’s been no-one who
Makes me feel like you do
Say we’ll be together till the end

I could leave but I won’t go
It’d be easier I know
I can’t feel a thing from my head down to my toes
But why does it always seem to be
Me looking at you, you looking at me
It’s always the same, it’s just a shame, that’s all

Just as I thought it was going alright
I find out I’m wrong, when I thought I was right
It’s always the same, it’s just a shame, that’s all
I could say day, you’d say night
Tell me it’s black when I know that it’s white
It’s always the same, it’s just a shame, that’s all – that’s all

Source: LyricFind
Songwriters: Tony Banks / Phil Collins / Michael Rutherford
That’s All lyrics © Concord Music Publishing LLC

♫ Another Day In Paradise ♫

Some nights I have a song in my head, or one pops into my head while I’m in the shower (the only place I’m allowed to sing … even my car doesn’t tolerate my warbling!!), and other nights I start with a blank slate and sift through the archives.  Tonight is the latter, and I decided I was in the mood for some Phil Collins, so I went in search of and found this … a song with meaning and Phil’s exquisite voice as an added bonus!


The song, published in 1989, is about the consequences of ignoring the needy and homeless.  According to Collins …

“It was begun at the piano. I started playing and put it down on a tape so I wouldn’t forget it. Then I decided to see what would happen when I started singing. When I began, the words just came out, ‘She calls out to the man on the street.’ I didn’t set out to write a song about the homeless. Those were just the words I happened to sing. It was only then that I decided that was what the song would be about.”

This song was Collins’ seventh and final Billboard Hot 100 #1 single, the last #1 single of the 1980s and the first #1 single of the 1990s. It was also a worldwide success, eventually becoming one of the most successful songs of his solo career. It won Collins and co-producer Hugh Padgham the Grammy Award for Record of the Year at the 1991 awards ceremony, while it was also nominated for Song of the Year, Best Pop Vocal Performance, Male and Best Music Video, Short Form. Another Day in Paradise also won an award for British Single at the 1990 Brit Awards.

Despite the awards gained following its release, the song also generated some controversy over its subject matter and has received a largely negative reaction from music critics.  Singer-songwriter and political activist Billy Bragg was scathing of the song.

“Phil Collins might write a song about the homeless, but if he doesn’t have the action to go with it he’s just exploiting that for a subject.”

Andrew Collins described the song as a “bland redress” for the subject of homelessness.  Caroline Sullivan of The Guardian dismissed the track in 2007 as “a song that addressed the issue of homelessness with the same insight as Sporty Spice’s ‘If That Were Me'”.  David Sheppard described the song’s lyrics as “cringe-worthy” and gave it as an example of Collins “painting the bull’s-eye on his own forehead” when it came to his negative status with music critics.  Hugh Wilson contrasted Collins’ concern for the homeless in the song with his concern as a multimillionaire at the prospect of the UK’s election of a tax-raising socialist government.  (Sound familiar?)

Despite all that criticism, the fact remains that this song was a hit in many countries from Australia to Zimbabwe!  It reached #1 in both Canada and the U.S., and #2 in the UK.

Another Day in Paradise
Phil Collins

She calls out to the man on the street
‘Sir, can you help me?
It’s cold and I’ve nowhere to sleep,
Is there somewhere you can tell me?’

He walks on, doesn’t look back
He pretends he can’t hear her
Starts to whistle as he crosses the street
Seems embarrassed to be there

Oh think twice, it’s another day for you and me in paradise
Oh think twice, ’cause it’s just another day for you,
You and me in paradise, think about it

She calls out to the man on the street
He can see she’s been crying
She’s got blisters on the soles of her feet
She can’t walk but she’s trying

Oh think twice, ’cause it’s another day for you and me in paradise
Oh think twice, it’s just another day for you,
You and me in paradise, think about it

Oh Lord, is there nothing more anybody can do
Oh Lord, there must be something you can say

You can tell from the lines on her face
You can see that she’s been there
Probably been moved on from every place
Cause she didn’t fit in there

Oh think twice, ’cause another day for you and me in paradise
Oh think twice, it’s just another day for you,
You and me in paradise, just think about it, think about it

It’s just another day for you and me in paradise
It’s just another day for you and me in paradise, paradise
It’s just another day for you and me in paradise
It’s just another day for you and me in paradise, paradise
It’s just another day for you and me
It’s just another day for you and me
It’s just another day for you and me in paradise
In paradise

Songwriters: Phil Collins
Another Day in Paradise lyrics © EMI Music Publishing, Concord Music Publishing LLC

♫ In The Air Tonight ♫ (Redux)

Tonight, I more or less spun the wheel, said “Eenie, Meenie, Minie, Moe” and let the chips fall where they may.  I liked where they fell … can never go wrong with Phil Collins … and so here we are … In the Air Tonight!


Collins wrote this song about the anger he felt after divorcing his first wife, Andrea Bertorelli, in 1980 – he was so devastated that he left Genesis for a short time. All of the original songs on the Face Value album, including the follow-up hit I Missed Again, were at one time intended to be “messages” to his first wife in an attempt to lure her back to him.

The lingering tension caused by the divorce led Collins to the title, as these negative feelings were In The Air, and affecting not just the couple getting divorced, but the entire family.

By the time the album was released, Collins had moved on and was dating Jill Tavelman, who became his second wife. His split with Jill would inspire the songs on Collins’ 1993 album Both Sides.

The meaning of this song became a pervasive urban myth. The story, which is not true, is that Collins watched as a man who raped his wife drowned. Another version has Collins writing this about about a man who watched another drown, and singing it to him at a concert. Yet another variation claims that when Collins was a young boy, he witnessed a man drowning someone but was too far away to help. Later, he hired a private detective to find the man, sent him a free ticket to his concert, and premiered the song that night with the spotlight on the man the whole time. We repeat, these stories are not true.
This was Collins’ first single as a solo artist; he claims that he offered it up as a Genesis song, but that his bandmates rejected it, saying it was “too simple.” Tony Banks of Genesis insists that Collins never played them the song.

There are shorter versions of this song, but I like this one for its dramatic presentation …

In the Air Tonight
Phil Collins

I can feel it coming in the air tonight, oh Lord
And I’ve been waiting for this moment for all my life, oh Lord
Can you feel it coming in the air tonight, oh Lord, oh Lord

Well if you told me you were drowning, I would not lend a hand
I’ve seen your face before my friend, but I don’t know if you know who I am
Well I was there and I saw what you did, I saw it with my own two eyes
So you can wipe off that grin, I know where you’ve been
It’s all been a pack of lies

And I can feel it coming in the air tonight, oh Lord
Well I’ve been waiting for this moment for all my life, oh Lord
I can feel it coming in the air tonight, oh Lord
Well I’ve been waiting for this moment for all my life, oh Lord, oh Lord

Well I remember, I remember, don’t worry, how could I ever forget
It’s the first time, the last time we ever met
But I know the reason why you keep your silence up, oh no you don’t fool me
Well the hurt doesn’t show, but the pain still grows
It’s no stranger to you and me

I can feel it coming in the air tonight, oh Lord
Well been waiting for this moment for all my life, oh Lord
I can feel it in the air tonight, oh Lord, oh Lord
Well I’ve been waiting for this moment for all my life, oh Lord
I can feel it coming in the air tonight, oh Lord
And I’ve been waiting for this moment for all my life, oh Lord
I can feel it in the air tonight, oh Lord, oh Lord, oh Lord

Well I’ve been waiting for this moment for all my life, oh Lord, oh Lord
I can feel it in the air tonight, oh Lord, oh Lord, oh Lord, oh Lord
Well I’ve been waiting for this moment for all my life, oh Lord, oh Lord, oh Lord

Songwriters: Phil Collins
In the Air Tonight lyrics © EMI Music Publishing, Concord Music Publishing LLC

♫ Do They Know It’s Christmas? ♫

In May of 2020 when I played We Are the World, dear friend David suggested another song that is about bringing people together, about helping people, about feeding the world.  The title, of course, is Do They Know It’s Christmas, but it’s a song that is apropos any time of the year, and I first played it in June 2020, about as far from Christmas as you can get!  This is one of those, like “Christmas 1914”, that has become an annual tradition on Filosofa’s Word.

This is a charity single organized by Bob Geldof, who was the lead singer of The Boomtown Rats. He got the idea after watching a BBC documentary on famine in Ethiopia. Geldof wrote the lyrics and Midge Ure from the band Ultravox wrote the music and produced the track, which was no easy task since so many voices were involved.

In the UK, and much of the Northern Hemisphere, snow and numerous displays leave no doubt that Christmas is near. In most of Africa, however, it’s quite warm on December 25, since it’s summer there. This song asks us to think of those who are living in poverty and hunger in Africa during the Christmas season, reminding us that they might not even know it’s Christmas.

Most of this song was recorded and mixed over a 24-hour period on Sunday, November 25, 1984. Sting and Simon LeBon had recorded their parts ahead of time, but everyone else came that day.

None of the vocalists heard the song before they arrived, so they learned their parts by listening to a guide vocal producer Midge Ure created, then recorded them. With such a tight schedule, there was no time to quibble.  The artists were not all friends, but they set aside their differences and were at least cordial to each other during the recording – with one exception. In the book I Want My MTV, George Michael said: “The only person who didn’t succumb to the charitable nature of the day was Paul Weller, who decided to have a go at me in front of everybody. I said, ‘Don’t be a wanker all your life. Have a day off.'”

The single raised $14 million for famine relief in Africa. Geldof is Irish, so he cannot be knighted, but he did receive a KBE, which is equivalent and is popularly known as Sir or Saint Bob.

Boy George was nearly a no-show, asleep in New York the day of recording. His band Culture Club was huge at the time and Bob Geldof was counting on him for a key vocal, so Geldof called him, woke him up, and told him to get on a Concorde. George flew to London, got behind the microphone and delivered the vocal they were looking for.

Trevor Horn, who was a member of the Buggles and Yes, donated the use of his studio (Sarm Studios in London) to record the song. He also pieced together the B-side of the single, which is an instrumental version with the artists delivering messages over the music. It is called “Feed The World” on the single.

Phil Collins arrived with his entire drum kit to record a live drum track on top of the already programmed drum machine. He set up the kit and then waited patiently until early evening until after all the vocals had been recorded. Ure was content with the first take that Collins performed, but the perfectionist Collins was unhappy with it and asked for a second take to be recorded, which he was satisfied with.

Released on December 3rd 1984 in the UK, the song quickly hit #1 on the charts and stayed there for 5 weeks.  The song became the biggest-selling single of all time in the UK until it was overtaken in 1997 by Elton John’s Candle in the Wind.  In the U.S., the song reached only #13 due to a lack of airplay.

Do They Know It’s Christmas?
Band Aid

It’s Christmastime, there’s no need to be afraid
At Christmastime, we let in light and we banish shade

And in our world of plenty we can spread a smile of joy
Throw your arms around the world at Christmastime

But say a prayer, pray for the other ones
At Christmastime it’s hard, but when you’re having fun

There’s a world outside your window
And it’s a world of dread and fear

Where the only water flowing
Is the bitter sting of tears
And the Christmas bells that ring there are the clanging chimes of doom
Well tonight thank God it’s them instead of you

And there won’t be snow in Africa this Christmastime
The greatest gift they’ll get this year is life
Where nothing ever grows
No rain nor rivers flow
Do they know it’s Christmastime at all?
Here’s to you
Raise a glass for everyone

Here’s to them
Underneath that burning sun
Do they know it’s Christmastime at all?

Feed the world
Feed the world
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again

Source: LyricFind
Songwriters: Bob Geldof / Midge Ure
Do They Know It’s Christmas? lyrics © Warner Chappell Music, Inc

♫ We Are The World ♫ (Redux)

I have reduxed this one every year since I first played it in … I think 2018.  It carries a message that we all need to hear from time to time.  Right now, all over the world, troubles abound.  Thinking of Ukraine and Ukrainians at the moment, with their struggles to save their country from an evil wanna-be emperor. Climate change is bringing disastrous effects to people around the globe, to food and water supplies, and the list goes on.  Here in the U.S., we are grieving for the lives lost over the past month in multiple mass shootings, especially the lives of 19 children lost in a school shooting in Uvalde, Texas.  Our politicians are playing the already massive divide, further dividing us and some are attempting to subjugate the people of the U.S. to a dictatorial leader.  People all over the globe are suffering in one way or another, and so tonight I play this one for everyone, to remind us that … we all share this planet, that we must come together, find ways to mend our fences, to overcome our differences.  

One of the times I played this, our friend John Howell provided a tidbit that I wasn’t aware of at the time …

“I loved the Michael Jackson comment to all the stars that were in studio for the “We are the World” recording session. He said that egos were to be left at the door and that anyone who had a problem with that would be driven home…by Stevie Wonder.”

I don’t imagine too many egos were on display after that!!!

This song … it is what we need today … and every day.  Please listen and enjoy.


Hello my friends.  With a heavy heart tonight, I was not going to do a music post, but two special people convinced me, without realizing that they had a thing to do with it, to do one … and this one in particular.  I shall explain …

A few nights ago, I was chatting via email with our friend Ellen, and she noted that while sometimes one doesn’t feel that they have a song in their heart, they should … sing anyway!  Tonight, I felt as if I had no song in my heart, and really, I just wanted to go to bed.  But, somewhere in my head, I heard Ellen saying, “C’mon, Filosofa … sing anyway!”

And the second motivator was another dear friend, Dutch (Larry Woller) who posted on his own blog this song … We Are The World … and everything just suddenly clicked into place.

This was a benefit single for victims of famine in Africa. It raised over $60 Million, which was distributed to Ethiopia, Sudan, and other impoverished countries.

Michael Jackson and Lionel Richie wrote this song, and Quincy Jones produced it. This talented trio was perfect for the job: Quincy Jones was the hottest producer around, and his Rolodex (what would now be a contact list) was filled with the biggest names in music; Richie had written songs that went to #1 on the Hot 100 each of the previous seven years (“We Are The World” made it eight); Michael Jackson had the biggest album of 1984 with Thriller (produced by Jones) and was the biggest star in the world.

The USA For Africa project began as an idea calypso singer Harry Belafonte had for a benefit concert featuring black musicians. In late December 1984, looking for artists to participate, Belafonte called Ken Kragen, who managed an impressive roster of talent, including Lionel Richie. Kragen convinced Belafonte that they could raise more money and make a bigger impact with an original song; Belafonte agreed and Richie came on board to help.

Kragen asked Quincy Jones to produce, and Jones enlisted Michael Jackson. Richie got Stevie Wonder involved, and from there, word got out and many members of the music industry signed on to help. The project from conception to recording took about a month.

This all-star charity single was inspired by Band Aid, the British group Bob Geldof put together the year before to record Do They Know It’s Christmas?. Band Aid, which included Bono, Phil Collins, David Bowie, Paul McCartney, and Sting, served as a template, showing how a disparate group of famous artists could come together in one day to record a song.

The stars who sang solos were, in order, Lionel Richie, Stevie Wonder, Paul Simon, Kenny Rogers, James Ingram, Billy Joel, Tina Turner, Michael Jackson, Diana Ross, Dionne Warwick, Willie Nelson, Al Jarreau, Bruce Springsteen, Kenny Loggins, Steve Perry, Daryl Hall, Michael Jackson (again), Huey Lewis, Cyndi Lauper, and Kim Carnes. Bob Dylan and Ray Charles were also featured on the song and given close-ups in the video.

Harry Belafonte, who had the original idea for the project, was in the chorus but didn’t get a solo, joining Bette Midler, Smokey Robinson, The Pointer Sisters, LaToya Jackson, Bob Geldof, Sheila E., and Waylon Jennings as backing singers.

Quincy Jones was responsible for managing the egos of all the stars. It went very smoothly considering some very famous people did not get to sing a line. Most of the singers knew Jones personally and respected his wishes that they check their egos at the door.

Just goes to show what we can accomplish when people of all sorts come together for a common cause.  I think … though the cause is different … this song has just as much meaning for our world today as it did when it was released in 1985, some 34 years ago, don’t you?

We Are the World
U.S.A. for Africa

There comes a time
When we heed a certain call
When the world must come together as one
There are people dying
Oh, and it’s time to lend a hand to life
The greatest gift of all

We can’t go on
Pretending day-by-day
That someone, somewhere soon make a change
We’re all a part of God’s great big family
And the truth, you know, love is all we need

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

Oh, send them your heart
So they know that someone cares
And their lives will be stronger and free
As God has shown us by turning stones to bread
And so we all must lend a helping hand

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
Oh, there’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

When you’re down and out, there seems no hope at all
But if you just believe there’s no way we can fall
Well, well, well, well let us realize
Oh, that a change can only come
When we stand together as one, yeah, yeah, yeah

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world (are the world)
We are the children (are the children)
We are the ones who’ll make a brighter day, so let’s start giving (so let’s start giving)
There is a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

Oh, let me hear you!

We are the world (we are the world)
We are the children (said we are the children)
We are the ones who’ll make a brighter day so let start giving (so let’s start giving)

There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me, come on now, let me hear you

We are the world (we are the world)
We are the children (we are the children)
We are the ones who’ll make a brighter day so let’s start giving (so let’s start giving)
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me, yeah

We are the world (we are the world)
We are the children (we are the children)
We are the ones who’ll make a brighter day so let’s start giving (so let’s start giving)

There’s a choice we’re making
And we’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world (are the world)
We are the children (are the children)
We are the ones who’ll make a brighter day so let’s start giving (so let’s start giving)

There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world, we are the world (are the world)
We are the children, yes sir (are the children)
We are the ones that make a brighter day so let’s start giving (so let’s start giving)

There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me, ooh-hoo!

We are the world (dear God) (are the world)
We are the children (are the children)
We are the ones that make a brighter day so let’s start giving (all right, can you hear what I’m saying?)
There’s a choice we’re making, we’re saving our own lives

Songwriters: Michael Jackson / Lionel Richie
We Are the World lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc

♫ Do They Know It’s Christmas? ♫

In May of last year, when I played We Are the World, our friend David suggested another song that is about bringing people together, about helping people, about feeding the world.  The title, of course, is Do They Know It’s Christmas, but it’s a song that is apropos any time of the year, and I first played it in June 2020, about as far from Christmas as you can get!  This is one of those, like “Christmas 1914”, that should become an annual tradition on Filosofa’s Word, though admittedly I had forgotten about it until Ellen reminded me last evening!

This is a charity single organized by Bob Geldof, who was the lead singer of The Boomtown Rats. He got the idea after watching a BBC documentary on famine in Ethiopia. Geldof wrote the lyrics and Midge Ure from the band Ultravox wrote the music and produced the track, which was no easy task since so many voices were involved.

In the UK, and much of the Northern Hemisphere, snow and numerous displays leave no doubt that Christmas is near. In most of Africa, however, it’s quite warm on December 25, since it’s summer there. This song asks us to think of those who are living in poverty and hunger in Africa during the Christmas season, reminding us that they might not even know it’s Christmas.

Most of this song was recorded and mixed over a 24-hour period on Sunday, November 25, 1984. Sting and Simon LeBon had recorded their parts ahead of time, but everyone else came that day.

None of the vocalists heard the song before they arrived, so they learned their parts by listening to a guide vocal producer Midge Ure created, then recorded them. With such a tight schedule, there was no time to quibble.  The artists were not all friends, but they set aside their differences and were at least cordial to each other during the recording – with one exception. In the book I Want My MTV, George Michael said: “The only person who didn’t succumb to the charitable nature of the day was Paul Weller, who decided to have a go at me in front of everybody. I said, ‘Don’t be a wanker all your life. Have a day off.'”

The single raised $14 million for famine relief in Africa. Geldof is Irish, so he cannot be knighted, but he did receive a KBE, which is equivalent and is popularly known as Sir or Saint Bob.

Boy George was nearly a no-show, asleep in New York the day of recording. His band Culture Club was huge at the time and Bob Geldof was counting on him for a key vocal, so Geldof called him, woke him up, and told him to get on a Concorde. George flew to London, got behind the microphone and delivered the vocal they were looking for.

Trevor Horn, who was a member of the Buggles and Yes, donated the use of his studio (Sarm Studios in London) to record the song. He also pieced together the B-side of the single, which is an instrumental version with the artists delivering messages over the music. It is called “Feed The World” on the single.

Phil Collins arrived with his entire drum kit to record a live drum track on top of the already programmed drum machine. He set up the kit and then waited patiently until early evening until after all the vocals had been recorded. Ure was content with the first take that Collins performed, but the perfectionist Collins was unhappy with it and asked for a second take to be recorded, which he was satisfied with.

Released on December 3rd 1984 in the UK, the song quickly hit #1 on the charts and stayed there for 5 weeks.  The song became the biggest-selling single of all time in the UK until it was overtaken in 1997 by Elton John’s Candle in the Wind.  In the U.S., the song reached only #13 due to a lack of airplay.

Do They Know It’s Christmas?
Band Aid

It’s Christmastime, there’s no need to be afraid
At Christmastime, we let in light and we banish shade

And in our world of plenty we can spread a smile of joy
Throw your arms around the world at Christmastime

But say a prayer, pray for the other ones
At Christmastime it’s hard, but when you’re having fun

There’s a world outside your window
And it’s a world of dread and fear

Where the only water flowing
Is the bitter sting of tears
And the Christmas bells that ring there are the clanging chimes of doom
Well tonight thank God it’s them instead of you

And there won’t be snow in Africa this Christmastime
The greatest gift they’ll get this year is life
Where nothing ever grows
No rain nor rivers flow
Do they know it’s Christmastime at all?
Here’s to you
Raise a glass for everyone

Here’s to them
Underneath that burning sun
Do they know it’s Christmastime at all?

Feed the world
Feed the world
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again
Feed the world
Let them know it’s Christmastime again

Source: LyricFind
Songwriters: Bob Geldof / Midge Ure
Do They Know It’s Christmas? lyrics © Warner Chappell Music, Inc

♫ Hey Jude ♫

I played Hey Jude back in June 2019, but tonight in my musical quest for just the right song, I came across an interesting version that, of course stars Paul McCartney, but also some other non-Beatles talent, such as Elton John, Eric Clapton, Phil Collins, Sting, and more.  I loved it, and thought maybe it was a good enough reason to play this song again tonight!  I’m also including the original Beatles’ version for any purists out there who don’t like the compilation!  Two things stood out for me in this joint effort by Paul and the others … first, the camaraderie between them all … they just really all seemed happy to be there, happy to be a part of it all.  And second … I had a crush on Paul McCartney as a teenager, but I have to say that like a fine wine, he only got better with age!  His persona is so much more relaxed, so much more … personable now than in the early years.  But, that’s just my opinion, and as we’ve all agreed, music tastes are very much individual and personal, so I’m eager to hear what you all think!

Released in 1968, Paul McCartney wrote this as “Hey Jules,” a song meant to comfort John Lennon’s 5-year-old son Julian as his parents were getting a divorce. The change to “Jude” was inspired by the character “Jud” in the musical Oklahoma!

Says Paul McCartney …

“John and his wife Cynthia had divorced, and I felt a bit sorry for their son, who was now a child of a divorce. I was driving out to see the son and Cynthia one day and I was thinking about the boy whose name was Julian – Julian Lennon, and I started this idea, ‘Hey Jules, don’t make it bad, it’s gonna be OK.’ It was like a reassurance song.

So that was the idea that I got driving out to see them. I saw them and then I came back and worked on the song some more. But I like that name, Jude.”

And according to the all-grown-up Julian Lennon …

“Paul told me he’d been thinking about my circumstances, about what I was going through and what I’d have to go through. Paul and I used to hang out quite a bit – more than Dad and I did… There seem to be far more pictures of me and Paul playing at that age than me and Dad. I’ve never really wanted to know the truth of how Dad was and how he was with me. There was some very negative stuff – like when he said that I’d come out of a whisky bottle on a Saturday night. That’s tough to deal with. You think, where’s the love in that? It surprises me whenever I hear the song. It’s strange to think someone has written a song about you. It still touches me.”

At the time of its release, it was the longest song ever released as a single.  Hey Jude was a number-one hit in many countries around the world and became the top-selling single of 1968 in the UK, the US, Australia and Canada.

The only complaint I have about this song is that never-ending “na-na-na-na-na …” at the end.

Hey Jude
The Beatles

Hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better

Hey Jude, don’t be afraid
You were made to go out and get her
The minute you let her under your skin
Then you begin to make it better

And anytime you feel the pain
Hey Jude, refrain
Don’t carry the world upon your shoulders
For well you know that it’s a fool
Who plays it cool
By making his world a little colder
Na-na-na, na, na
Na-na-na, na

Hey Jude, don’t let me down
You have found her, now go and get her (let it out and let it in)
Remember to let her into your heart (hey Jude)
Then you can start to make it better

So let it out and let it in
Hey Jude, begin
You’re waiting for someone to perform with
And don’t you know that it’s just you
Hey Jude, you’ll do
The movement you need is on your shoulder
Na-na-na, na, na
Na-na-na, na, yeah

Hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you’ll begin to make it better
Better better better better better, ah!

Na, na, na, na-na-na na (yeah! Yeah, yeah, yeah, yeah, yeah, yeah)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude (Jude Jude, Judy Judy Judy Judy, ow wow!)
Na, na, na, na-na-na na (my, my, my)
Na-na-na na, hey Jude (Jude, Jude, Jude, Jude, Jude)
Na, na, na, na-na-na na (yeah, yeah, yeah)
Na-na-na na, hey Jude (yeah, you know you can make it, Jude, Jude, you’re not gonna break it)
Na, na, na, na-na-na na (don’t make it bad, Jude, take a sad song and make it better)
Na-na-na na, hey Jude (oh Jude, Jude, hey Jude, wa!)
Na, na, na, na-na-na na (oh Jude)
Na-na-na na, hey Jude (hey, hey, hey, hey)
Na, na, na, na-na-na na (hey, hey)
Na-na-na na, hey Jude (now, Jude, Jude, Jude, Jude, Jude)
Na, na, na, na-na-na na (Jude, yeah, yeah, yeah, yeah)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude (na-na-na-na-na-na-na-na-na)
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na (yeah, make it, Jude)
Na-na-na na, hey Jude (yeah yeah yeah yeah yeah! Yeah! Yeah! Yeah! Yeah!)
Na, na, na, na-na-na na (yeah, yeah yeah, yeah! Yeah! Yeah!)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude

Songwriters: John Lennon / Paul McCartney
Hey Jude lyrics © Sony/ATV Music Publishing LLC

♫ We Are The World ♫ (Redux)

I play this one about once a year, for it carries a message that we all need to hear from time to time.  Right now, all over the world, troubles abound.  In Haiti, Cuba, South Africa, protests are rocking the nations.  In much of the world, the new variants of the coronavirus pandemic are causing renewed surges, people are dying and there aren’t enough vaccines in many countries, economies are in trouble, climate change is bringing disastrous effects to people around the globe, to food and water supplies, and the list goes on.  Here in the U.S., we have such a political divide that families are being torn apart and white supremacy is threatening us all.  So tonight I play this one for everyone, to remind us that … we all share this planet, that we must come together, find ways to mend our fences, to overcome our differences.  

When I played this just over a year ago, our friend John Howell provided a tidbit that I wasn’t aware of at the time …

“I loved the Michael Jackson comment to all the stars that were in studio for the “We are the World” recording session. He said that egos were to be left at the door and that anyone who had a problem with that would be driven home…by Stevie Wonder.”

I don’t imagine too many egos were on display after that!!!

This song … it is what we need today … and every day.  Please listen and enjoy.


Hello my friends.  With a heavy heart tonight, I was not going to do a music post, but two special people convinced me, without realizing that they had a thing to do with it, to do one … and this one in particular.  I shall explain …

A few nights ago, I was chatting via email with our friend Ellen, and she noted that while sometimes one doesn’t feel that they have a song in their heart, they should … sing anyway!  Tonight, I felt as if I had no song in my heart, and really, I just wanted to go to bed.  But, somewhere in my head, I heard Ellen saying, “C’mon, Filosofa … sing anyway!”

And the second motivator was another dear friend, Dutch (Larry Woller) who posted on his own blog this song … We Are The World … and everything just suddenly clicked into place.

This was a benefit single for victims of famine in Africa. It raised over $60 Million, which was distributed to Ethiopia, Sudan, and other impoverished countries.

Michael Jackson and Lionel Richie wrote this song, and Quincy Jones produced it. This talented trio was perfect for the job: Quincy Jones was the hottest producer around, and his Rolodex (what would now be a contact list) was filled with the biggest names in music; Richie had written songs that went to #1 on the Hot 100 each of the previous seven years (“We Are The World” made it eight); Michael Jackson had the biggest album of 1984 with Thriller (produced by Jones) and was the biggest star in the world.

The USA For Africa project began as an idea calypso singer Harry Belafonte had for a benefit concert featuring black musicians. In late December 1984, looking for artists to participate, Belafonte called Ken Kragen, who managed an impressive roster of talent, including Lionel Richie. Kragen convinced Belafonte that they could raise more money and make a bigger impact with an original song; Belafonte agreed and Richie came on board to help.

Kragen asked Quincy Jones to produce, and Jones enlisted Michael Jackson. Richie got Stevie Wonder involved, and from there, word got out and many members of the music industry signed on to help. The project from conception to recording took about a month.

This all-star charity single was inspired by Band Aid, the British group Bob Geldof put together the year before to record Do They Know It’s Christmas?. Band Aid, which included Bono, Phil Collins, David Bowie, Paul McCartney, and Sting, served as a template, showing how a disparate group of famous artists could come together in one day to record a song.

The stars who sang solos were, in order, Lionel Richie, Stevie Wonder, Paul Simon, Kenny Rogers, James Ingram, Billy Joel, Tina Turner, Michael Jackson, Diana Ross, Dionne Warwick, Willie Nelson, Al Jarreau, Bruce Springsteen, Kenny Loggins, Steve Perry, Daryl Hall, Michael Jackson (again), Huey Lewis, Cyndi Lauper, and Kim Carnes. Bob Dylan and Ray Charles were also featured on the song and given close-ups in the video.

Harry Belafonte, who had the original idea for the project, was in the chorus but didn’t get a solo, joining Bette Midler, Smokey Robinson, The Pointer Sisters, LaToya Jackson, Bob Geldof, Sheila E., and Waylon Jennings as backing singers.

Quincy Jones was responsible for managing the egos of all the stars. It went very smoothly considering some very famous people did not get to sing a line. Most of the singers knew Jones personally and respected his wishes that they check their egos at the door.

Just goes to show what we can accomplish when people of all sorts come together for a common cause.  I think … though the cause is different … this song has just as much meaning for our world today as it did when it was released in 1985, some 34 years ago, don’t you?

We Are the World
U.S.A. for Africa

There comes a time
When we heed a certain call
When the world must come together as one
There are people dying
Oh, and it’s time to lend a hand to life
The greatest gift of all

We can’t go on
Pretending day-by-day
That someone, somewhere soon make a change
We’re all a part of God’s great big family
And the truth, you know, love is all we need

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

Oh, send them your heart
So they know that someone cares
And their lives will be stronger and free
As God has shown us by turning stones to bread
And so we all must lend a helping hand

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
Oh, there’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

When you’re down and out, there seems no hope at all
But if you just believe there’s no way we can fall
Well, well, well, well let us realize
Oh, that a change can only come
When we stand together as one, yeah, yeah, yeah

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world
We are the children
We are the ones who make a brighter day, so let’s start giving
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world (are the world)
We are the children (are the children)
We are the ones who’ll make a brighter day, so let’s start giving (so let’s start giving)
There is a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

Oh, let me hear you!

We are the world (we are the world)
We are the children (said we are the children)
We are the ones who’ll make a brighter day so let start giving (so let’s start giving)

There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me, come on now, let me hear you

We are the world (we are the world)
We are the children (we are the children)
We are the ones who’ll make a brighter day so let’s start giving (so let’s start giving)
There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me, yeah

We are the world (we are the world)
We are the children (we are the children)
We are the ones who’ll make a brighter day so let’s start giving (so let’s start giving)

There’s a choice we’re making
And we’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world (are the world)
We are the children (are the children)
We are the ones who’ll make a brighter day so let’s start giving (so let’s start giving)

There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me

We are the world, we are the world (are the world)
We are the children, yes sir (are the children)
We are the ones that make a brighter day so let’s start giving (so let’s start giving)

There’s a choice we’re making
We’re saving our own lives
It’s true we’ll make a better day, just you and me, ooh-hoo!

We are the world (dear God) (are the world)
We are the children (are the children)
We are the ones that make a brighter day so let’s start giving (all right, can you hear what I’m saying?)
There’s a choice we’re making, we’re saving our own lives

Songwriters: Michael Jackson / Lionel Richie
We Are the World lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc