(Sittin’ On) The Dock Of The Bay – Otis Redding (1968)




“(Sittin’ On) The Dock of the Bay” is a song co-written by soul singer Otis Redding and guitarist Steve Cropper. It was first recorded by Otis Redding in 1967, days before his death on December 10, 1967 in a plane crash in Wisconsin that killed everyone onboard except Ben Cauley, the trumpeter in the band. It was released posthumously on Stax Records’ Volt label in 1968, becoming the first posthumous single to top the charts in the US. It charted at number 3 on the UK Singles Chart.
In August 1967, while sitting on a rented houseboat in Sausalito, Redding started writing the lyrics to the song. He completed the writing with the help of Stax producer Steve Cropper, who was also guitarist in Booker T and the M.G.’s. The song incorporates mimicked seagull whistles and sounds of the waves crashing on the shore. Tragically, just three days after Redding and band mates finished the final refinements of the song, Redding, five band mates (James Alexander, Carl Cunningham, Jimmy Lee King, Phalon Jones, Ronnie Caldwell, and Matthew Kelly) and pilot Richard “Dick” Fraser died in a plane crash that landed in Lake Monona, Wisconsin. “(Sittin’ On) The Dock of the Bay” became the first posthumous album to reach number one on the Billboard Music Charts.

In a 1990 interview on NPR’s Fresh Air, Cropper explained the “origins” of the song:
Otis was one of those kind of guys who had 100 ideas. Anytime he came in to record he always had 10 or 15 different intros or titles, or whatever. He had been at San Francisco playing The Fillmore, and he was staying at a boathouse, which is where he got the idea of the ship coming in. That’s about all he had: “I watch the ships come in and I watch them roll away again.” I took that and finished the lyrics. If you listen to the songs I wrote with Otis, most of the lyrics are about him. He didn’t usually write about himself, but I did. “Mr. Pitiful,” “Fa-Fa-Fa-Fa-Fa (Sad Song)”; they were about Otis’ life. “Dock Of The Bay” was exactly that: “I left my home in Georgia, headed for the Frisco Bay” was all about him going out to San Francisco to perform.


Together, they completed the music and melancholy lyrics of “(Sittin’ On) The Dock of the Bay.” From those sessions emerged Otis Redding’s final recordings, including “Dock of the Bay,” which was recorded on November 22, with additional overdubs on December 8.

Many who first heard the final version had many doubts about the song, the sound, and the direction. Among some of the skeptics were Phil Walden and Jim Stewart. Redding accepted some of the criticisms and fined tuned the song. He reversed the opening, which was Redding’s whistling part and put it at the end as suggested. A few months before composition of Redding’s most famous hit, British music magazine, “Melody Maker” named Otis Redding as the world’s #1 vocalist. He dethroned Elvis Presley who had reigned for the previous ten years. “The Dock of the Bay” was released early in 1968 and topped the charts in the US and UK.
Geoff Brown said: “Dock of the Bay” is redolent of a period and a culture. But more than that, its mood of contemplation, its atmosphere of quiet yearning mixed with a generation-hopping favorite.

“(Sittin’ On) The Dock of the Bay” was released in January 1968 amid the fall-out of Redding’s death. R&B stations readily added the song to their playlists, which had been saturated with Redding’s previous hits. The song shot to number one on the R&B charts in early 1968 and, from March, topped the pop charts for four weeks. The album, which shared the song’s title, was released and became his largest selling to date, peaking at number four on the Pop Albums chart.[16] “Dock of the Bay” went on to gain success in countries across the world, and brought Redding the greatest success of his career, selling more than four million copies worldwide and receiving more than eight million airplays. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance.


Sittin’ in the morning sun
I’ll be sittin’ when the evening comes
watching the ships roll in
and then I watch them roll away again, yeah

I’m sittin’ on the dock of the bay
watching the tide roll away
I’m sittin’ on the dock of the bay
wasting time

“(Sittin’ On) The Dock of the Bay” is een soulnummer, dat door Otis Redding en Steve Cropper geschreven werd. Redding nam het kort voor zijn overlijden op en werd begeleid door Booker T. & the M.G.’s. Op de B-kant van de door Volt, een sublabel van Stax Records, op 8 januari 1968 uitgebrachte single stond het liedje “Sweet Lorene”.

Een prachtig, sfeervol nummer. Waarschijnlijk een afwijking van me, maar ik vind het zelf ook heerlijk om zo af en toe in m’n eentje op een strandje aan de rivier te zitten en een beetje te kijken naar de voorbij varende boten. Zo maar wat turen naar het water en naar wat er allemaal op dat water gebeurt, luisterend naar de geluiden die daar op me af komen. Even alleen met mezelf en mijn eigen gedachten.

Niet gestoord door andere mensen, door smartphones of laptops. Gewoon genietend van de stilte van de rust een beetje tijd verspillen, want hoe kostbaar die tijd ook is, dit soort momenten zou ik voor geen goud willen missen!

Ik ben dan ook vast van plan om er de komende maanden weer heel wat tijd door te brengen daar aan die rivier.




Crucify – Tori Amos (1992)




“Crucify” is a song by American singer-songwriter and musician Tori Amos. It was released as the fifth single from her debut studio album Little Earthquakes. It was released on May 12, 1992 by Atlantic Records in North America and on June 8 by EastWest Records in the UK.
The song served as the fifth single from the album Little Earthquakes. It was released as an EP in the US and as a single in Europe and Australia. The song has been covered by Sharon den Adel, vocalist of Within Temptation, and Nolwenn Leroy, French singer.
The EP version included a single remix, famous cover versions and “Winter”, which was released earlier as a single from the album. It sold 450,000 copies in the US according to Soundscan as of 2005, coming close to a Gold certification. Although the EP sold extremely well it failed to chart on the Billboard 200.
The “Crucify” video, directed by Cindy Palmano (photographer and video director) and Atlantic Records, was released in 1992 as well. It was shot using the radio edit of “Crucify” that can be found on the EP and singles, but the version used on Tori’s 2006 Fade to Red 2DVD set is an edited version of the remastered track that is found on the compilation Tales of a Librarian. It includes images of Tori at the piano shot using overhead cameras, twin Toris who sing together at a counter, clothing “reminiscent of Anne Boleyn”,[9] and shots of Tori climbing into a bathtub fully dressed, then dancing in the wet dress.
Cindy Palmano has said that Atlantic Records finished the video because “I took it to a certain stage and then the record company wanted to edit it in a different way”. Yet she approves of the bathtub sequence: “I like when she steps into the bath and comes out of the bath. It all looks really Hitchcock, I love it.”[10] (Palmano also directed the videos “Silent All These Years”, “Winter”, “China” and “Pretty Good Year”, this last one from Amos’ second album, Under the Pink.)
The music video can be found on Little Earthquakes, Tori Amos: Complete Videos 1991-1998 and Fade to Red: Video Collection.
I don’t think this song is anti-religion, really. You can find that in it if you want to, but to me the religious metaphors are just that–metaphors. It’s a bigger song than that–it’s about society and everyone around you, and the feelings of inadequacy that only you can control. The religious metaphors are very powerful, but the song is not inherantly anti-Christianity. At least, that’s my opinion–if you want it to be, I suppose it could be about religious oppression, but I don’t think that’s the point of the song.


Every finger in the room is pointing at me
I wanna spit in their faces
Then I get affraid what that could bring
I got a bowling ball in my stomach
I got a desert in my mouth
Figures that my COURAGE would choose to sell out now.

I’ve been looking for a savior in these dirty streets
Looking for a savior beneath these dirty sheets
I’ve been raising up my hands
Drive another nail in
Just what GOD needs
One more victim

Why do we crucify ourselves
Every day I crucify myself
Nothing I do is good enough for you
Crucify myself
Every day I crucify myself
And my HEART is sick of being in chains

Eén van mijn favoriete nummers van Tori Amos. Komt van haar cd Little Earthquakes, waar nog een paar mooie nummers op staan, onder andere het nummer Winter waar ik al eerder een blogje over heb gemaakt.



Crucify is een song over het schuldgevoel dat ons al heel vroeg aangeleerd wordt. Vanaf dag één word je eigenlijk al geleerd dat je niet helemaal voldoet, dat je dingen niet goed doet en eigenlijk gaat dat het hele leven zo door.

Hoe vaak hebben we niet het gevoel dat alle ogen op ons gericht zijn, dat er hoe dan ook over ons geluld wordt. Hoe vaak hebben we niet het gevoel dat wat we ook doen, er altijd wel iets is dat in de ogen van de anderen niet door de beugel kan.

Er zijn altijd wel mensen of instanties die je dat gevoel geven en als je daar gevoelig voor bent en niet bepaald overloopt van zelfvertrouwen doe je niets anders dan jezelf constant te straffen voor het feit dat je in de ogen van anderen niet helemaal voldoet. Op den duur kan het je zeklfs ziek maken. Ziek van jezelf, ziek van alles en iedereen om je heen

We kwellen onszelf onnodig met het idee dat we tekort schieten alleen maar omdat anderen zo over ons oordelen. Oordelen terwijl ze eigenlijk niets van ons weten. Het enige dat ons echt kwalijk te nemen is, is het feit dat we dat gewoon laten gebeuren.

Hoog tijd dus om daar verandering in te brengen, iets wat Tori Amos ons leert met dit mooie nummer.





Grounds For Divorce – Elbow (2008)




“Grounds for Divorce” is the first single from Elbow’s fourth studio album The Seldom Seen Kid.
The single was released on 10 March 2008 as the band’s first release on Fiction Records across two 7″ vinyl records and one CD single. The song marked the band’s joint-highest charting single to date, peaking at #19 on the UK Singles Chart, becoming also their third UK Top 20 success and their sixth UK Top 40 entry. Frontman Guy Garvey told Uncut that “‘Grounds for Divorce’ was written when I was in an unhappy relationship.”[citation needed] On 21 May 2009, “Grounds for Divorce” won the Ivor Novello award for Best Contemporary Song.
“Grounds for Divorce” was featured in the promotional trailer for Valve Corporation’s 2008 game Left 4 Dead, and in the trailer for the 2008 film Burn After Reading. An instrumental version was also featured on Series 12, Episode 1 of the British motoring show Top Gear and was played at the opening montage which contained clips from the upcoming episodes, as well as in the third episode of the same series. “Grounds for Divorce” was also featured in the 8th episode for the 5th season, and promos for the 6th season of the TV-show House MD. Also appeared in episode 521 of Rescue Me. It appeared in the soundtrack of DiRT 2, a rallying video game. In 2009, the riff was used on the Hairy Bikers Food Tour of Britain TV show, whilst showcasing the professional chef opponent in the taste-off, as well as by The Apprentice contestant Chris Bates, in the final episode of series six in an advert for an alcoholic drink. The song is also on the soundtrack for a 2011 video game, Driver: San Francisco.

The Seldom Seen Kid is the fourth studio album by the alternative rock band Elbow. It was released by Fiction Records on 17 March 2008 in the United Kingdom and was released by Geffen Records on 22 April 2008 in the United States. The album debuted at number five on the UK Albums Chart and won the Mercury Prize in 2008.


A cracking single, I must admit to taking onboard the other comments while reading this!!

I saw it as a song about alcoholism and the fear of losing his love, but also the good it may do to them both.

‘The seldom seen kid’ is indeed Brian Glancy, who they drink to in the first line, how you do to celebrate someones life. However this is also quite sad in itself, as alcohol has now become his escape. Possibly he is seeing Brian Glancy’s escape (death) as a more permanent one?

Of course the chorus is about Glancy’s grave, and how it tears him apart everytime he sees it and he ‘falls’ down to square one again. As after every chorus they return to ‘drinking to the seldom seen kid’ so in the pub (his square one).

Right, in my opinion verse one is all about the things he and his wife have done together. She bought him a compass/watch type thing, he knows he should go home (maybe even a hint from her before his drinking got so bad) but he just keeps rubbing it. Like if something itches, or is marked on like pen, you rub it to make it go away. Then the chinese cigarrete case (not tiny ciggarette case) is a present she gave him before everything started going downhill, or possibly a present from Glancy, either way it reminds him of good times or has some sentimental meaning and although he is willing to lose everything else (and admits he will) he holds this dear.

The second verse in my opinion is about his interest in other women, he talks about whorese and ‘flesh by the pound’ which is paying for a body to use. And then goes on to how he buys his wife roses, but she knows why he does it, and because she does it doesn’t make up for it. So in a way its stabbing himself in the foot because the only time he buys her roses is when he has hired a whore, she knows this and his guilt isnt at all consoled. Pretty sure someones already mentioned this (but just in case!) aniseed is a reference to absynthe, showing his further dependence on alcohol.

Finally he says ‘we’ll be drinking with the seldom seen kid’ this i think has a double meaning, how his wife’s and his own relationship will die, like the seldom seen kid, and also how everyone else will also die. Giving it a more universal significance. Essay over.


I’ve been working on a cocktail called “Grounds For Divorce”, whoa
Polishing a compass that I hold in my sleeve, whoa
Doubt comes in on sticks, but then he kicks like a horse, whoa
There’s a Chinese cigarette case and the rest you can keep
And the rest you can keep
And the rest you can keep

There’s a hole in my neighbourhood
Down which of late I cannot help but fall
There’s a hole in my neighbourhood
Down which of late I cannot help but fall

Mondays is for drinking to the seldom seen kid

Een sterk nummer van Elbow, van hun album The Seldom Seen Kid uit 2008. Door het uitkomen van hun nieuwe cd The Take Off and Landing of Everything dit jaar ben ik weer naar wat ouder werk van de groep aan het luisteren ook en dat vind ik beslist niet vervelend.

Daar zitten verrekt goeie nummers tussen en deze single is er zeker één van. Een song over alcoholisme, een onderwerp dat nogal gevoelig ligt, ook in ons gezinnetje. Het heeft het leven van mijn vrouw nogal beïnvloed, zeker haar jeugd. Door deze traumatische ervaring heeft zij nogal moeite met alcohol, ook als onze kinderen dat gebruiken, terwijl ze daar gewoon mee om moeten leren gaan op hun manier. Dat is (tot nu toe) aardig gelukt, maar de alcohol en met name het misbruik daarvan door haar vader zal altijd een stempel op haar denken blijven drukken vrees ik.




Toch wel zonde dat het leven vol zit met dit soort valkuilen en dat het sommige levens nogal beïnvloed, en dat is met name treurig voor de levens van mensen die zelf niet eens in zo’n valkuil vallen, maar die moeten toezien hoe een ouder, een kind, ofwel een geliefde er aan ten onder dreigt te gaan.

Sunny Afternoon – The Kinks (1966)




“Sunny Afternoon” is a song by The Kinks, written by chief songwriter Ray Davies. Like its contemporary “Taxman” by The Beatles, the song references the high levels of progressive tax taken by the British Labour government of Harold Wilson. The track later featured on the Face to Face album as well as being the title track for their 1967 compilation album. Its strong music hall flavour and lyrical focus was part of a stylistic departure for the band (begun with 1965′s “A Well Respected Man”), which had risen to fame in 1964-65 with a series of hard-driving, power-chord rock hits.

Released as a single on 3 June 1966, it went to No. 1 on the UK Singles Chart on 7 July 1966, remaining there for two weeks. The track also went to No. 1 in Ireland on 18 July 1966. In America, it peaked at No. 14 on the Billboard Hot 100 pop singles chart early autumn 1966.”Sunny Afternoon” was placed at No. 200 on Pitchfork Media’s list of The 200 Greatest Songs of the 1960s.
The promotional video for the single featured the band performing in a cold, snowy environment.

The song has been covered by performers including The Standells on their 1967 album The Hot Ones!, Jimmy Buffett on his Fruitcakes album (1994), Arjen Anthony Lucassen on his Strange Hobby (1997), the Stereophonics on the DVD Live at Morfa Stadium (1999), former Space singer Tommy Scott, in a duet with Tom Jones, on Jones’ Reload album (1999), Bob Geldof, included on the four-CD compilation, Great Songs of Indifference (2005) and The Cat Empire performed the song for Triple J’s “Like A Version” Series in 2009. Take That also used the backing music on the track “Kidz” from their 2010 album Progress. Drake Bell performed the song on The Ring Master.

Even though it is often touted as a “libertarian anthem,” I take issue with that notion. This song is poking fun at the “poor little rich boy” attitude. The Kinks always struck me as artists who could complain about something while at the same time making fun of such complaint through song. If anything, it sounds like it could have been based on a news story about a rich man who got busted trying to evade taxes and the government is collecting its due while he refuses to acknowledge what’s really going on.



Sunny Afternoon is een single uit 1966 van de Britse popgroep The Kinks. Het nummer is geschreven door de singer-songwriter/gitarist van de band Ray Davies en de single bereikte de eerste plaats van vele hitparades in de hele wereld. Later is het nummer verschenen op het album Face to Face.

Gewoon een lekker nummer dat past op een lekkere zonnige zondagmiddag, die we vandaag hebben gehad. Geweldige hit ook uit de sixties van The Kinks. Muziek waar ik graag naar luister.

Behind That Locked Door – George Harrison (1970)




“Behind That Locked Door” is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Harrison wrote the song in August 1969 as a message of encouragement to Bob Dylan, who was then making a highly publicised comeback to the concert stage, accompanied by the Band, with a headlining performance at the Isle of Wight Festival. “Behind That Locked Door” is a rare Harrison composition in the country music genre and it was the second song dealing with the friendship between himself and Dylan, after their 1968 collaboration “I’d Have You Anytime”. Its lyrics reflect Dylan’s elusive nature, as well as the high regard in which Harrison held the American singer’s work.
Harrison recorded the song in London with co-producer Phil Spector, shortly after taking part in a session for Dylan’s New Morning album in New York. The recording features a prominent contribution from Nashville pedal steel virtuoso Pete Drake, and twin keyboard parts from Gary Wright and Billy Preston in the tradition of the Band, whose sound had a marked influence on Harrison’s arrangement. On release, Alan Smith of the NME called the song “a tremendous piece of country-meets-Hawaii” and recommended that it be sent to country singer Slim Whitman “without further delay”.
A well-regarded alternate take of “Behind That Locked Door” appears on the 2012 Harrison compilation Early Takes: Volume 1. Among other artists, Olivia Newton-John, Jim James and the Felice Brothers have covered the song.
In mid August 1969, Bob Dylan had confounded the media’s expectations by shunning the Woodstock Festival, an event he had helped to inspire. Instead, after three years in virtual seclusion with his family, Dylan decided to make his comeback a fortnight after Woodstock, by headlining the Isle of Wight Festival at Wootton, just off the south coast of England. Now a popular act in their own right, the Band agreed to back Dylan for the performance, just as they had (as the Hawks) on his controversial 1966 world tour. In a repeat of his UK concerts from 1966, leading figures in the English music scene began to gather on the island to show their support for Dylan, the singer widely considered “the minstrel to a generation”.
Alone among the many celebrity guests, George Harrison had spent time with Dylan during his period away from the limelight, in Bearsville, near Woodstock. In between promoting Radha Krishna Temple (London)’s debut single on Apple Records, his own production of “Hare Krishna Mantra”, Harrison and wife Pattie Boyd stayed with Dylan’s family at Forelands Farm, near Bembridge, during the week preceding the festival. The two musicians strengthened the bond they had established in upstate New York and were heard performing near-perfect impersonations of the Everly Brothers in the farmhouse.
“Behind That Locked Door” was released as the third track on side two of Harrison’s All Things Must Pass triple album, in November 1970. Ian Inglis writes of its position in the track order: “In the middle of an album whose songs sweep across the grand themes of history, religion, love, sex, and death, ['Behind That Locked Door'] is a surprising and touching gesture of simple friendship from one man to another.


Why are you still crying?
Your pain is now through
Please forget those teardrops
Let me take them from you

The love you are blessed with
This world’s waiting for
So let out your heart, please, please
From behind that locked door


Behind That Locked Door vind ik nog altijd één van de mooiste songs van Harrison. Hij heeft naar zeggen het nummer gemaakt voor zijn toenmalige vriend Bob Dylan om hem wat op te beuren.

Als ik zelf wel eens in een dipje zit en allicht dat dat de afgelopen 53 jaar wel eens voorgekomen is, zet ik ook altijd even dit nummer op om de boel even te relativeren. Het laat me meestal de dingen weer in goed perspectief zien. Zorgt er meestal voor dat ik de andere dag de dingen anders zie of in ieder geval de dingen die me dwars zaten ineens niet zo belangrijk meer vind.

Ik betrap mezelf er ook wel op dat er ook bij mij nogal wat achter gesloten deuren blijft. Een beetje (te) voorzichtig ben ik door de jaren heen misschien wel geworden met het delen van dingen. Een goed hulpmiddel is wel een blog als dit waar ik nogal wat dingen van me af schrijf, maar voor de rest blijft het delen beperkt. Zijn er niet heel veel mensen waar ik iets persoonlijks mee (durf) wil delen.

Ook daar helpen songs als dit nummer van G.H. wel eens bij. Helpt me er aan herinneren dat het best wel eens goed is om iets los te laten en niet alles vast te houden Behind That Locked Door…….. Ik moet toegeven dat de deur toch nog wel eens knelt.

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Are Friends Electric – Tubeway Army (1979)




“Are ‘Friends’ Electric?” is a song by English New Wave band Tubeway Army from their 1979 album Replicas. It was released as a single in May 1979 and reached No. 1 in the UK Singles Chart, staying there for four weeks. It was written and produced by Gary Numan, the band’s frontman and lead vocalist.
Despite being over five minutes long and possessing, in the words of its composer, “no recognisable hook-line whatsoever”, the single topped the UK charts. Whilst the track’s distinctive sound stood out at the time, sales also benefited from the record company’s use of a picture disc and Numan’s striking, “robotic” performance on the TV shows The Old Grey Whistle Test and Top of the Pops. “Are ‘Friends’ Electric?” has been a mainstay of Numan’s concerts since its release and appears on all ten of his official live recordings to date. A semi-acoustic version appeared on the 2006 Jagged tour setlist. “Are ‘Friends’ Electric?” was featured in the video game Need for Speed: Carbon. It was also covered by Information Society on their 1997 album Don’t Be Afraid.
“Are ‘Friends’ Electric?” features three different sections: a recurring “verse” with a synth riff in C and B flat, a recurring section with spoken word over slow arpeggiated seventh chords, and an instrumental break in F. The instrumentation is quite minimal: there is a conventional drum and bass guitar backing track, some additional heavily flanged guitar (particularly in the instrumental break), subdued vocals and, most prominently, a Minimoog synthesizer. These synth parts include a slow-paced sawtooth bass riff, and some soaring portamento background lines.
Numan stumbled upon synthesizers by accident. While intending to record a punk album, he noticed a Minimoog synthesizer that had been left in the studio. The keyboard’s massive sound became the inspiration for the Replicas album, and is the dominant sound for this song.
Writing for Smash Hits in 1979, Cliff White described the song as “a dark, threatening wall of synthesized sound” which “throbbed ominously behind a gloomy song of paranoia and loneliness”. White went on to say it was “gripping stuff, but cheerful it isn’t”.

 One of all time greatest songs ever written.
This explanation does no justice to the haunting emotion of the song, but:
In G.N.’s world, (based on a sci-fi book he started writing during adolescence) “Friends” are machines that look like humans. Other machines (“Machmen”, I believe) are running the world. But “Friends” are machines that humans can call on to do things for them/ provide services.
Pretty sad when a hired machine is the last thing you’ve got in this world to love.



Bijzondere plaat dit  ‘Are Friends Electric’, een beetje electro/synthesizer in de new wave. De groep had hier in Nederland niet zo heel veel succes, in Engeland wat meer.

Wel had Gary Numan een heel vooruitziende blik met dit nummer. Een nummer over iemand die klaarblijkelijk eenzaam is met vrienden die hem niet begrijpen of willen begrijpen en die hij niet begrijpt of vertrouwt. Een beetje wanhopig klinkt het nummer, maar mooi is het.

Een heel mooi nummer over het missen van echte vriendschap, iets dat opgaat voor veel artiesten geloof ik (en niet alleen voor artietsen), misschien ook voor Gary Numan in die tijd. Het levert vaak wel schitterende muziek op, dat dan weer wel.
Het nummer is in ieder geval, ondanks dat het uit 1979 komt beslist niet gedateerd want tegenwoordig barsten we immers allemaal van de virtuele vrienden via onze social media.


Big Love – Fleetwood Mac (1987)




“Big Love” is a song by Fleetwood Mac, that appeared on their 1987 album Tango in the Night. The song was the first single to be released from the album, reaching #5 on the U.S. charts, and number nine in the UK. The single was also a hit on the American dance charts, where the song peaked at #7.
A 12-inch version featured an extended dance mix, with added vocals by Stevie Nicks. While the 12-inch version included “You & I, Part II” from the Tango in the Night album, the 7-inch version included an non-album track, “You & I, Part I”. A limited edition 12-inch picture disc was released in the UK, as well as a double 7-inch pack, which contained the “Big Love” single, and an exclusive 7-inch featuring “The Chain” as an A-side.
Since Buckingham left Fleetwood Mac in 1987 (shortly after Tango in the Night was released), the band never performed “Big Love” live until his return in 1997. It was in 1993, on his first solo tour, that Buckingham performed a guitar-only version of the song, featuring the Merle Travis/Chet Atkins and folk-inspired fingerpicking techniques that form the essential core of his playing style. In 1997, he performed it in the same style on Fleetwood Mac’s live album and video The Dance. It also appeared on the second volume of Cameron Crowe’s Elizabethtown film soundtrack. Buckingham continues to perform the song on Fleetwood Mac and solo tours.



Does size matter ……

De meningen hierover lopen uiteen, de waarheid is voor iedereen anders. Legio mannen hebben over hun size een minderwaardigheidscomplex, al dan niet terecht. Ik heb zelf echt geen idee of formaat voor vrouwen echt belangrijk is, zal ongetwijfeld per vrouw verschillen.

Volkomen overbodig trouwens om daar depressieve gevoelens over te krijgen, want ik las pas in de Quest (een blad naar mijn hart) een artikeltje over dit fenomeen. Het handelde over de Griekse standbeelden. Daar worden de mannen afgebeeld met een kleine penis., dit in tegenstelling tot wat getoond wordt in de meeste erotisch getinte films, of pornofilms zoals ze ook wel genoemd worden. In het artikel wordt uitgelegd waarom de Grieken dit deden.

De Grieken bleken gefascineerd door de mannelijke schoonheid. Ik heb zelf een ietwat afwijkende mening, ik heb een ‘lichte’ voorkeur voor vrouwelijke schoonheid, maar dat doet er nu even niet toe.

De reden dat mannen werden afgebeeld met een kleine penis werd veroorzaakt door het schoonheidsideaal dat toen gold. Lange, dikke penissen werden grotesk gevonden, aldus het artikel. De ideale penis was klein.

De Griekse dichter Aristophanus beschreef het ideale mannelijke lichaam als volgt: “Een glimmende borst, lichte huid, brede schouders, kleine tong, sterke billen en een kleine leuter.”

Best wel grappig dat één lichaamsdeel ons zo bezig kan houden en dan met name het formaat van dat lichaamsdeel, hoewel ik me toch wel afvraag of het echt zo belangrijk is. Persoonlijk denk ik dat er toch andere factoren, minstens zo belangrijk zijn om een eventuele (seksuele) relatie te laten slagen.