words: Paulo Carmona (translated and edited by Raquel Pinheiro) photos: Daniela Tendim
Suede are like a top-quality Port. Once “vintage”, forever vintage. The years pass and the quality improves unequivocally. They never disappoint, never waver, never compromise. Whenever they step onto a stage they are completely focused, always ready to give their best, and their best is of a very high standard.
As it was at Super Bock Arena, in Porto, where they came to present their latest album – Antidepressants – to their newest friends and to those who have followed them for years. A quick glance around the room was enough to realise that Suede captivate every generation.
If Simon Gilbert and Mat Osman are the band’s unquestionable maestros, thanks to their experience and talent, cohesive and brilliant in their rhythmic execution, then Richard Oakes and Neil Codling provide the stylised melodies that shape and define the Suede sound.
As for Brett Anderson – the lead singer – he ought to be the subject of a scientific study. A remarkable performer, an absolute stage monster. He seems to run on batteries that never run out, radiating an emotional energy capable of stirring a bear in the depths of hibernation. I would say he is a teenager recycled at supersonic speed. The audience adores him, every gesture, every mannerism, every swing of his body.
From the setlist chosen for this show, it must be said that they swept across their vast repertoire, with particular emphasis on songs from the latest album — very well received by the audience, it should be noted — but also including the epic and iconic songs of old, songs that belong to all times. I would highlight Trash, Can’t Get Enough and Everything Will Flow, which drove the crowd into complete delirium, and, of course, The Beautiful Ones, which figuratively brought the whole arena down.
Brett did not confine himself to the pit and ventured straight into the middle of the crowd. Amid shouts, tears, applause, hugs and kisses, he somehow managed to slip back onto the stage to close the concert in total apotheosis.
Grab your glasses, and yell from the bottom of your lungs! Cheers, Suede!
The Band: Brett Anderson – lead vocals Mat Osman – bass Simon Gilbert – drums Richard Oakes – guitar Neil Codling – guitar, keyboards, backing vocals.
Setlist: Disintegrate Antidepressants Trash Animal Nitrate We Are the Pigs Personality Disorder Sabotage New Generation Filmstar Can’t Get Enough June Rain She Still Leads Me On Shadow Self Trance State The Wild Ones (acoustic Brett Anderson & Richard Oakes) Everything Will Flow So Young Metal Mickey Beautiful Ones Dancing with the Europeans
I don’t remember when I first heard about or listened to Suede. It was long ago, most likely through the British music weeklies.
In September 2024, I joined The Mild Ones, an online Suede fan group. A bit weary at first. However, the Mild Ones are different from most fan groups. Jose (Duarte) and Sara (Bona) the group administrators won my heart, so did the Mild Ones community.
Being part of the Mild Ones left me curious how it is to manage an online open fan community that large for a band that draws such strong emotions as Suede do. The Mild Ones are a place for fun, our life stories, our band crushes, endless creativity from painting to poems, through bracelets and knitting. And music, of course. It’s an equalitarian place. Well known musicians, producers, etc. side by side with fans. It’s a place of debate.
Ladies and Gentlemen, I present you The Mild Ones, and my conversation with Jose and Sara.
P.S. Dear Sara, we were not all in love with Brett. Some of us took a fancy to the one behind the drums! 😎
Suede are currently touring the UK. They will tour mainland Europe in March, and Asia in April and May. Suede premiered a new song, Tribe, Saturday January 30th at Guildhall, Portsmouth, England. And I really like it. 🙂 It’s the kind of song that makes you want to pick up a rock instrument and start a band.
How did The Mild Ones begin, was it a spontaneous act of devotion, or something that gathered momentum over time?
Sara Bona (SB): We were honestly quite determined to make this project happen. We had been discussing the idea for a few months, and we were really excited about creating a community for Suede fans which, thanks to the existence of social media, could reach as many enthusiastic fans as possible. When we finally felt the timing was right, we set the wheels in motion. It wasn’t exactly a walk in the park, though. Was it, Jose?
Jose Duarte (JD): Absolutely! We both felt it was necessary to have a space where every fan mattered, regardless of their place of origin, whether they’d been fans forever or just discovered the band, whether they’d seen Suede live a gazillion times or never at all, whether they collected every record or didn’t own a single one. Even casual fans, or those who only like a song or two, are totally welcome. Every opinion counts in our group. But it wasn’t easy to bring so many people together, certainly not.
When you first created the group, what was your vision for it, and how close has the reality come to what you imagined?
JD & SB: We just wanted for Suede fans all around the world to have a public space where they could share their love for the band and find out whether other Suede fans were into the same things we are – other bands, books, films, etc. We didn’t have a long-term plan; it was all pretty improvised, but we had the feeling that there were people out there just like us. And, indeed, there really are!
What does the name The Mild Ones mean to you now, given that most of the fans and the band are older? Does it capture a sense of calm, reflection, or continuity?
SB: Choosing The Mild Ones as the name for the group was a bit tongue-in-cheek, really. We’ve been wild, we still can be wild but, at our age, we just want a little peace in our lives, we just want to be mild, while still loving Suede wildly. We can’t speak for other fans or the band, but that’s how we feel.
JD: In our everyday life, we’re quite mild, we like to go unnoticed but trust me, we can be wild at gigs.
And what does The Wild Ones – the song – still mean to you today, both personally and in relation to the community? SB: I remember watching the video for The Wild Ones on MTV in the 90s, over and over again, after I discovered the band. Back then, I was head over heels in love with Brett (as we all were!), and I was just a 14- or 15-year-old girl, not very good at English yet. Of course, I loved the song but I think I can appreciate the beauty of the music and the lyrics so much more now than I probably did back then. 🙂 JD: The Wild Ones, for me, is the best song Suede have ever composed. Of course, The Asphalt World is the quintessential Suede song but there’s something about The Wild Ones that makes it universal. It reflects an optimism mixed with nostalgia, which makes it very appealing both to us and to most Suede fans. SB & JD: We both feel incredibly honoured that Brett and the band have, in a way, linked our group to that sublime hymn.
Suede isn’t just the thread that binds this community, it seems to live within it. What does Suede mean to you personally, beyond the music? How has their work shaped the way you see or hold this space? SB: Suede have ALWAYS been with me, my whole life since my early teens. They were there when I first fell in love, when I first got my heart broken, when I studied my degree in Translation and Interpreting, which I chose because of my love for the English language and the British culture, when I’ve lost loved ones… They’ve been there in my happiest moments and in my lowest ones. Every single moment of my life is tied to a Suede song. They are my band. And, of course, their music has definitely shaped the person I am today. JD: In terms of music, Suede were my first love. Since the moment I discovered them at 14, they have always been with me. When I felt sad, I found shelter in Suede’s music. I feel their music is like a friend, one that makes me feel I belong. SB & JD: The Mild Ones is mostly about Suede music, but also about the influence that they’ve had on our taste in other forms of art.
Even your dog carries the band’s name – Suede – which feels both tender and symbolic. What does that say about the place the band holds in your daily life?
SB: Well, when I got my dog, Jose said it wasn’t a great name for her. But it wasn’t his decision, really, haha. I think the name suits her perfectly. She’s moody, she’s an outsider, she barks a lot and howls, and her fur feels exactly like suede. Of course, she’s an Andalusian hound, so her name sounds a little different in Spanish. Now I find myself calling ‘Suede’ out loud a million times a day so, she’s an ever-present reminder of my beloved band. 😀 JD: Okay, I was wrong and you were right, haha. The name really does suit her.
The group remains open, where many communities choose to be private. What guided that choice, was it about accessibility, trust, or something deeper about how you see connection? SB: Now my question would be, why do those communities choose to be private? It’s all about the music, nothing to hide there. And yes, it’s certainly easier for people to find the group this way. JD: Sharing content with other groups, at least on Facebook, wouldn’t be possible if the group were private. In the beginning, it was a great way to promote the group around. I agree with Sara: what is there to hide? What’s wrong with your family and friends knowing that you love Suede?
SB: My family and friends are sick and tired of hearing me babble about Suede, hahaha!
Managing a community of over thirteenth thousand members must carry moments of both joy and overwhelm. What have you learned about human nature through holding this space?
SB: In the meantime, we’ve gained fifteen hundred more members! 😀 I’m genuinely impressed with Suede fans but, then again, I totally expected they’d be top blokes and gals! The good moments far outweigh the not-so-good ones. JD: I’ve learnt that, at the end of the day, and deep down, we’re all very similar, which is a good thing. I’ve also learnt that people enjoy being part of something bigger than themselves. They like to participate, give opinions, share their thoughts with like-minded people, and they need to relax after a long day at work. That’s what social media is for, isn’t it? No drama, just fun!
Some members of the band – like Simon Gilbert (Suede’s drummer) – and people who work closely with them are part of the group. Has having Suede themselves within the community affected the way members express themselves, or does it remain a space where everyone feels free to share their opinions?
JD: Not at all! Honestly, it has zero influence. We even wonder if people realise that Simon is a member! We’re also thrilled to have among our fellow Mild Ones other people who work closely with the band, like Paul Khera, Jip Nipius, Mike Christie, Saul Galpern, Justin Welch, Simon Price, Jim Hanner, and plenty of other musicians who are friends with the band: Rialto’s Julian Taylor and Louis Elliot, Emma Anderson, Mark Fernyhough, and Ian Watson, among others. and, of course, the lovely Mariana Enríquez [who wrote the book Porque demasiado no es suficiente: Mi historia de amor con Suede].
SB: And I’m pretty sure Brett must be lurking somewhere too, haha! People here aren’t shy about speaking their minds, even if it’s not always flattering. And that’s perfect: critical thinking and constructive criticism, when said with respect, only makes the space better. Luckily, our members know how to disagree gracefully and still have fun.
Online spaces can often feel fleeting, yet The Mild Ones endured. What keeps it alive, is it the music, the shared nostalgia, or something ineffable that Suede evokes?
SB: In my opinion, Suede isn’t a band for the masses. Their music isn’t easy listening, and the lyrics are not straightforward. I think it speaks directly to certain people, those of us who sometimes feel out of place, those who expect music to say something about life and themselves, those who need to feel poetry and grandness in a world that can sometimes feel devoid of it. It’s music that touches your soul and never lets go. That’s probably why Suede fans are so faithful. It’s not just music; it’s a lifestyle. And once people feel that, they want to stay. JD: The relaxed atmosphere of the group greatly contributes to its permanence. People know they can talk about whatever they want, whenever they want, without others taking offense and, unfortunately, that’s not true for every group on social media, as the algorithm often favours conflict and bad vibes.
Have you witnessed friendships, collaborations, or even transformations emerge from within the group? Things that remind you why you continue? JD & SB: We have, indeed! Many a friendship has been forged within the confines of the Mildlands, about which we are truly happy, as it is a way for fans to connect in a disconnected world, to quote Brett.
Some collaborations have also emerged, notably the project Swayed with Wayne Readshaw, Jo T. Jones and Carlos Rodrigues, who have made a magnificent cover of So Young.
In their own words: “Remote cover of the classic Suede hit ‘So Young’ featuring Jo Taylor-Jones (vocals, bass and keys), Wayne Readshaw (guitars) and Carlos Rodrigues (drums). Via ‘The Mild Ones’ Facebook group, the trio got together online to record this track at each of their homes before it was compiled across 5,365 miles.” But they aren’t the only ones. We’d also like to mention the best tribute band in the world, our Indonesian friends Animal Lazy, as well as other consummate artists who share their striking covers with the group such as Helen Wong, Lunachangue Tak, Maximilien Poullein, Bettina Korn, and Popping Shi, to name a few.
Other talented members have also shared drawings, designs, artistic performances, make-up and jewellery creations with the group including Susan Gallagher, Wanzhou Ji, Carmen B. Leung, Erika Seya, Haruko Masuyama, Laura RK, Ingrid Petry, Lindsey Barton, Mel Langton Art, SW Portraits, Matthew Williams, Hardeep Sihota, Maeve, Isabella Arp, Silvio Balija, Jim Morey, Anna Walsh, Pat Taylor (Patsy), Neil Reid, Simona Valenti, Kay Kitto, Petrol Blue, our two moderators DeanJean Phng and Melissa Waterfield. Even we have shared some poems and drawings ourselves.
We are happy to say that ours is a lovely community full of artistic talent!
Suede’s work often balances elegance with rawness, beauty with disquiet. Do you sense that same duality in the way the community expresses itself? JD: Yes, we do notice that duality. You can come across posts that are particularly harsh about a song or their latest work, but you can also find posts praising their music with beautiful words. But all opinions are more than welcome. SB: One of the things I believe people appreciate most about the group is that they feel free to express themselves in whatever way feels right at the moment. Of course, there are limits: we only ask that people remain respectful towards others and the band, but within those limits, everyone is free to say whatever they want, however they want. And yes, that duality is definitely there.
How do you personally stay inspired as administrators, what restores your energy when things get heavy or chaotic?
JD: When things get tough, I listen to other bands like Radiohead, The Divine Comedy, Manics or Pulp to disconnect a bit from everything related to the group. Then, I go back to listening to Suede to restore my energy. SB: I must confess that I’m not a big fan of social media, so the time I spend on my phone is usually in the group. I’m more of a watcher and reader than a responder, but Jose keeps me informed about everything. That said, I only listen to Suede; I don’t have time for other bands since I have a pretty busy life. And I have Netflix and a lot of books.
After three years, what do The Mild Ones mean to you, not just as a group, but as a living archive of feeling, music, and shared history?
SB & JD: Well, as we’ve mentioned before, this started almost as a joke. We were more like a comedic duo in another space. So the fact that we’ve grown so much, and gone from being just an anecdote to now being the largest Suede fan community, fills us with pride and satisfaction. And it’s all thanks to the fans who, every day, fill our space with stories, anecdotes, photos, information, videos, experiences.
My radio show Amazing Songs & Other Delights # 91 – edition is broadcasted Monday January 19 & 26, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).
I love covers and have long thought of doing a covers show. Here it is. With two songs of my beloved Tim Hardin covered. Reason to Believe by Ron Sexsmith and If I Were A Carpenter by Robert Plant.
Some of these songs were made popular on the voices of Johnny Cash, Cocaine Blues, a rework by Troy Junius Arnall of the traditional song Little Sadie. Here played and sung by Keith Richards.
Doc Pomus and Mort Shuman’s (Marie’s The Name) His Latest Flame was first recorded by Del Shannon, then Elvis made it his. It’s the only song on the show that is a medley By The Smiths platin(Marie’s The Name) His Latest Flame/ Rusholme Ruffians playing it Live in London, 1986. The medley is part of The Smiths live album Rank.
The programme opens with Nick Cave & The Bad Seeds performing Danny Dill and Marijohn Wilkin’s Long Black Veil. There’s also George Micheal covering Roxanne by The Police, Nouvelle Vague going for The Clash’s The Gun’s Of Brixton, Therapy? covering Diane by my adored Hüsker Dü and much more.
Tracklist: 01: Nick Cave & The Bad Seeds – Long Black Veil (Danny Dill and Marijohn Wilkin) 02: Lucinda Williams – While My Guitar Gently Weeps (The Beatles) 03: Ron Sexsmith – Reason to Believe (Tim Hardin) 04: George Michael – Roxanne (The Police) 05: Therapy? – Diane (Hüsker Dü) 06: Billy Bragg – Dolphins (Fred Neil) 07: Kieth Richards – Cocaine Blues (Troy Junius Arnall) 08: Ana Deus, Carlos Zíngaro, Regina Guimarães, Zani Dislexic Band – Venus In Furs (Velvet Underground) 09: John & Lindsey Skeye – Hallelujah (Leonard Cohen) 10: Placebo – 20th Century Boy (T. Rex, from Velvet Goldmine Soundtrack) 11: Suede – Hungry Heart (Bruce Springsteen, live at Jo Whiley’s Sofa Sessions BBC) 12: Nouvelle Vague – The Guns of Brixton (The Clash) 13: Rowland S. Howard & Lydia Lunch – Some Velvet Morning (Lee Hazelwood & Nancy Sinatra) 14: Robert Plant – If I Were A Carpenter (Tim Hardin) 15: The Smiths – (Marie’s The Name) His Latest Flame/ Rusholme Ruffians – Live in London, 1986 (Doc Pomus and Mort Shuman, Morrissey & Marr)
editors note: As soon as I saw Neal’s text about The Asphalt World on The Mild Ones – a group I’m also part of – I was hooked. The Asphalt World is very special for me, and the only song I always know how to play on the guitar, albeit on my own lo-fi stripped down way. It instantly felt like his essay belonged on Mondo.
The Asphalt World: Growing Up on Tarmac and Songs
by Neal Reid
Some thoughts I had on The Asphalt World.
I come from a very working-class background. I grew up in inner city Birmingham. It’s hard to really express how boring it was to live where I did, much like Haywards Heath was for Mat and Brett. There was absolutely nothing to do but get pissed or off your tits, which is what we did most of the time. No café culture of restaurants, just booze and drugs, which were everywhere you looked and in everyone we knew. Gossip about who could get what was gold dust, but it was always the older kids who got anything good. As kids, me and my mates couldn’t afford to buy drugs or booze much, so we innovated. We used to sniff butane (lighter fuel), glue, and even deodorant cans through a towel over the top to get high off the fumes. Brett’s songs are laden with drug references and Asphalt World is no exception.
The song reminds me of where I grew up. The connection is primal, it’s not a higher order function, like choosing Asphalt World over Things Can Only Get Better by D-ream for instance. It touches me somewhere deep.
Lots of people lead idyllic lives by the coast, like my best friend who is from South West Wales. Kids would play in streams and swim in the sea and build huts in the woods. We did some of that, of course, Birmingham being famous for its canals if nothing else, but my most vivid memory of my young life is the smell of Tarmac, aka asphalt. It seemed to be with me all the time as progress increasingly drove, quite literally, through our green spaces.
The lyrics themselves seemed impossibly glamorous and ethereal to my 20 year old mind:
I know a girl, she walks the asphalt world She comes to me, I supply her with ecstasy Sometimes we ride in a taxi to the ends of the city Like big stars in the back seat, like skeletons, ever so pretty
The very idea of getting a 7-minute taxi into town was a bit glamorous. We used to walk there and home regularly, although if we were feeling particularly flush, we’d get the bus. The idea that we could ‘fly in a taxi, to the ends of the city, like big stars in the back seat’ was inconceivable, especially as the literal read of that line has the protagonists buying real drugs. ‘I supply her ecstasy.’
The lyrics are so sensual and Brett’s voice gradually increases in urgency; it’s a winter night’s quest for possibly illicit sex, ‘how does she feel when she’s next to you’ and ultimately “the sex turns cruel”; the perilous pursuit of risky drugs and using them for said sex; the guitar, bass and drums turning more frantic, once gentle guitar lines become swirling confusion as the cab speeds up, the racing rhythm section pounding to near panic attack levels as the city lights whoosh by and light the scene, ‘like skeletons, ever so pretty’.
Looking up the train tracks for life.
The Asphalt World lyrics:
I know a girl, she walks the asphalt world She comes to me, I supply her with ecstasy Sometimes we ride in a taxi to the ends of the city Like big stars in the back seat, like skeletons, ever so pretty I know a girl, she walks the asphalt world
But where does she go and what does she do? And how does she feel when she’s next to you? And who does she love in her time honoured fur? Is it me or her?
I know a girl, she walks the asphalt world She’s got a friend, they share mascara, I pretend Sometimes they fly from the covers to the winter of the river For these silent stars of the cinema, it’s in the bloodstream, it’s in the liver I know a girl, she walks the arse-felt world
But where does she go and what does she do? And how does she feel when she’s next to you? And who does she love in her time honoured fur? Is it me or her? With ice in her blood and a dove in her head Well, how does she feel when she’s in your bed? When you’re there in her arms and there in her legs Well, I’ll be in her head ‘Cause that’s where I go and that’s what I do And that’s how it feels when the sex turns cruel Yes, both of us need her, this is the asphalt world
With ice in her blood and a dove in her head Well, how does she feel when she’s in your bed? When you’re there in her arms and there in her legs Well, I’ll be in her head ‘Cause that’s where I go and that’s what I do And that’s how it feels when the sex turns cruel Yes, both of us need her, this is the asphalt world
Essay originally posted by Neal Reid on The Mild Ones – Suede Fan Group Facebook account on December 29 2025.
Amazing Songs & Other Delights # 87 – The To Remember Who I Am edition airs Monday 3 November 2025, 3-4pm (London time) and repeats Monday November 10 on Yé Yé Radio: yeyeradio.com (or on the app).
This edition title is both a reminder to myself and a words play with Tracy Vandal & John Mercy’s song.
Lammergeiers’ ITB is the band’s – a little hard to spot – version of Suede’s Introducing The Band.
Alicia Edelweiss is a suggestion by Bettina Korn and Ruth Lyon a suggestion by Martin Swarbrick. Their respective songs, Leonie and November were picked by me.
My beloved Sugar are back with a new single, House of Dead Memories, their first in thirty years. There’s also Tracy Vandal & John Mercy with Alex Kapranos of Franz Ferdinand and much more.
Tracklist: 01: Lammergeiers – ITB 02: Alicia Edelweiss – Leonie 03: Ruth Lyon – November 04: Sugar – House of Dead Memories 05: Jesse Sykes & The Sweet Hereafter – Dead End Pools 06: Guided By Voices – (You Can’t Go Back To) Oxford Talawanda 07: Miranda – I Wish 09: Brian Bilston and The Catenary Wires – Might Have, Might Not Have 10: Oliver Sim – Telephone Games 11: Bela Noia – Não quero mais 12: AUA Drop – Painkiller No. 2 13: Leatherette – Hey There (x) 14: Tracy Vandal & John Mercy – To Remember Who You Were feat Alex Kapranos 15: Cass McCombs – Missionary Bell
My radio show Amazing Songs & Other Delights # 85 – The Of Love & Loss edition can now be listened to on mixcloud. Of Love & Loss is a self-explanatory title. Originally, that was not how this edition was going to be called. You can read about the programme here.
Amazing Songs & Other Delights airs 3-4pm (London time) and has new editions every first and third Monday of each month, respective repeats on second and fourth Monday of each month on Yé Yé Radio: yeyeradio.com (or on the app).
Tracklist: 01: The Handsome Family – Far From Any Road 02: A 90s new man called Stan – Disco Dystopian Blues 03: The Auteurs – Show Girl 04: Bettina Korn – Annie’s Song (John Denver cover) 05: Chimehours – Underneath The Earth 06: The Mercury Rev – Goodness on a Highway 07: Maitland – Einstein-Rosen Bridge 08: Ricardo Reis Soares – Qualquer Coisa 09: Suede – Daddy’s Speeding 10: The Vinegar Tasters – Smokestack 11: The Radio Field – It’s Alright 12: Bill MacKay & Ryley Walker – Land of Plenty 13: Thee Headcoatees – You’re Gonna Lose That Boy 14: Lour – Outro Lado 15: Zea & Drumband Hallelujah Makkum – In lichem fol beloften(feat. Tsead Bruinja) 16: Mark Eitzel – The Last Ten Years
My radio show Amazing Songs & Other Delights # 85 – The Of Love & Loss edition airs Monday October 6, and repeats Monday October 13, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).
Of Love & Loss is a self-explanatory title. Originally, that was not how this edition was going to be called. Maybe it would have been called The Mild Ones edition. The Mild Ones are a wonderful Suede fan group of which I am part of, and there are several Mild Ones on this edition – Mark Robin White (A 90s new man called Stan), Bettina Korn, James Mediocre (The Vinegar Tasters), Simon Gilbert (Suede).
Or maybe it was going to be called something else. Bettina’s cover of John Denver’s Annie’s Song was certain, regardless of the name thos edition of Amazing Songs & Other Delights would have. Monday, September 30, Ian Pye posted Suede’s Daddy’s Speeding to the group.
I was reminded of how great the song is, and listened to it a few times, because the song has a very interesting musical change, and selected as one of my International Music Day for The Polymath.
A couple of days latter I was listening to it on repeat for very different reasons. Curve balls. Life, love, loss. The other songs were already in though for this edition, or came as soundscape of feelings and emotions.
Most of the songs aren’t necessarily about love. Or loss. They aren’t all gloomy, far from it. Daddy’s Spending does sits at the center, with its music, vocal, words, highly charged emotional landscape, but the songs before and after offer a full picture of a week filled with changes.
To lighten things a bit, in the spirit of Wally, can you spot Bernard Butler, (other than in Suede)?…
Tracklist: 01: The Handsome Family – Far From Any Road 02: A 90s new man called Stan – Disco Dystopian Blues 03: The Auteurs – Show Girl 04: Bettina Korn – Annie’s Song (John Denver cover) 05: Chimehours – Underneath The Earth 06: The Mercury Rev – Goodness on a Highway 07: Maitland – Einstein-Rosen Bridge 08: Ricardo Reis Soares – Qualquer Coisa 09: Suede – Daddy’s Speeding 10: The Vinegar Tasters – Smokestack 11: The Radio Field – It’s Alright 12: Bill MacKay & Ryley Walker – Land of Plenty 13: Thee Headcoatees – You’re Gonna Lose That Boy 14: Lour – Outro Lado 15: Zea & Drumband Hallelujah Makkum – In lichem fol beloften(feat. Tsead Bruinja) 16: Mark Eitzel – The Last Ten Years
Today is International Music Day. I selected three songs from different time periods and genres. Cantigas do Maio by José Afonso, Der Erlkönig by Franz Schubert, and my favourite song Will You Love Me Tomorrow sung by the Shirelles.
Cantigas do Maio is from the fifth album by Portuguese musician, composer, singer, songwriter 1971 album Cantigas do Maio. A beautiful song, in which the voice starts gentle, develops a frantic tone, then quiets, then rises again, and ends quiet.
Cantigas do Maio: Eu fui ver a minha amada Lá p’rós baixos dum jardim Eu fui ver a minha amada Lá p’rós baixos dum jardim Dei-lhe uma rosa encarnada Para se lembrar de mim Dei-lhe uma rosa encarnada Para se lembrar de mim
Eu fui ver o meu benzinho Lá p’rós lados dum passal Eu fui ver o meu benzinho Lá p’rós lados dum passalFeatures Dei-lhe o meu lenço de linho Que é do mais fino bragal Dei-lhe o meu lenço de linho Que é do mais fino bragal
Minha mãe, quando eu morrer Minha mãe, quando eu morrer Ai, chore por quem muito amargou Ai, chore por quem muito amargou Para então dizer ao mundo Para então dizer ao mundo Ai Deus m’o deu Ai Deus m’o levou Ai Deus m’o deu Ai Deus m’o levou Ai Deus m’o deu Ai Deus m’o levou
Eu fui ver uma donzela Numa barquinha a dormir Eu fui ver uma donzela Numa barquinha a dormir Dei-lhe uma colcha de seda Para nela se cobrir Dei-lhe uma colcha de seda Para nela se cobrir
Eu fui ver uma solteira Numa salinha a fiar Eu fui ver uma solteira Numa salinha a fiar Dei-lhe uma rosa vermelha Para de mim se encantar Dei-lhe uma rosa vermelha Para de mim se encantar
Minha mãe, quando eu morrer Minha mãe, quando eu morrer Ai, chore por quem muito amargou Ai, chore por quem muito amargou Para então dizer ao mundo Para então dizer ao mundo Ai Deus m’o deu Ai Deus m’o levou Ai Deus m’o deu Ai Deus m’o levou Ai Deus m’o deu Ai Deus m’o levou
Eu fui ver a minha amada Lá nos campos, eu fui ver Eu fui ver a minha amada Lá nos campos, eu fui ver Dei-lhe uma rosa encarnada Para de mim se prender Dei-lhe uma rosa encarnada Para de mim se prender
Verdes prados, verdes campos Onde está minha paixão? Verdes prados, verdes campos Onde está minha paixão? As andorinhas não param Umas voltam, outras não As andorinhas não param Umas voltam, outras não
Minha mãe, quando eu morrer Minha mãe, quando eu morrer Ai, chore por quem muito amargou Ai, chore por quem muito amargou Para então dizer ao mundo Para então dizer ao mundo Ai Deus m’o deu Ai Deus m’o levou Ai Deus m’o deu Ai Deus m’o levou Ai Deus m’o deu Ai Deus m’o levou
My favourite song Will You Love Me Tomorrow, also known as Will You Still Love Me Tomorrow, written by Carole King and Gerry Goffin, first recorded by The Shirelles in 1960.
Will You Love Me Tomorrow: Tonight you’re mine completely You give your love so sweetly Tonight the light of love is in your eyes But will you love me tomorrow? Is this a lasting treasure Or just a moment’s pleasure? Can I believe the magic of your sighs? Will you still love me tomorrow? Tonight with words unspoken You say that I’m the only one But will my heart be broken When the night (when the night) Meets the morning (meets the morning) sun? I’d like to know that your love Is a love I can be sure of So tell me now, and I won’t ask again Will you still love me tomorrow? So tell me now, and I won’t ask again Will you still love me tomorrow? Will you still love me tomorrow? Will you still love me?
And Der Erlkönig by Franz Schubert, with a ballade written by Johann Wolfgang in 1782. Here sung by baritone Dietrich Fischer-Dieskau accompanied by pianist Gerald Moore. Haunting, chilling, Dietrich sings the three voices, child, father, Erlkönig with deep emotion and such tonal variation it leaves you mesmerized. And the final line, In seinen Armen das Kind war tot (In your arms the child is lies dead) is arrowing.
Der Erlkönig: Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm.
Mein Sohn, was birgst du so bang dein Gesicht? – Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif? – Mein Sohn, es ist ein Nebelstreif. –
„Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand.“ –
Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht? – Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind. –
„Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn Und wiegen und tanzen und singen dich ein.“ –
Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort? – Mein Sohn, mein Sohn, ich seh’ es genau: Es scheinen die alten Weiden so grau. –
„Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch’ ich Gewalt.“ – Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan! –
Dem Vater grauset’s; er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not; In seinen Armen das Kind war tot.
More or my favourite songs can be read about here Amazing Songs & Other Delights #80 – The These Are a Few of My Favourite Songs edition and listened to here.
I have also written about this three songs plus Daddy’s Spending by Suede on The Polymath
I’m sometimes asked what a Mayan Soul Map looks like, or what to expect from a reading that includes Mayan. I’m a member of The Mild Ones, a Suede fan community. Today, is Brett Anderson’s birthday, and I share a Mayan Soul Map Synthesis, exploring his Birth Kin, current cycle, Venus phase, and more on The Polymath’s site.
Here’s an excerpt of my Brett Anderson Mayan Soul Map Synthesis: “Brett’s birth essence holds a deep, crystalline clarity: the need to question, to refuse easy answers, and to stand as a voice of integrity for the collective. His life path is not solitary. Warrior at Crystal tone suggests that his strength is found in weaving himself into group purpose, holding vision within a wider band of seekers. Brett’s full Mayan Soul Map Synthesis can be read here.
My 4th anniversary radio show is now available on mixcloud.
This year, the anniversary programme is a little different than usual. Trials and tribulations didn’t allow for the several costumary purpose composed pieces, aside from mine and Francisco Silva’s Lucid One.
The lyrics of Lucid One have my poem 80 as starting point, adapted to song by Francisco’s chatgpt, then, on a second round of singing the song, by him. It was a very interesting creative experience. Francisco and I also both this very different impromptu versions of Suede’s The Asphalt World.
You can read more about the show, the Astro Travellers, my “band” contributions and it’s creative process here. The lyrics of Lucid One and poem 80 are below, along with the show tracklist.
Lucid One lyrics Sleepless nights, stuck in motion Elevators fade, no clear emotion Crex crex crex — the artach calls Lucid tiles in echo halls
The megaphone speaks, louder than books Slogans win where no one looks Moral weight too hard to lift We float inside this aimless drift
The empire of futility Masqueraded as ability Symbols fail, the noise gets loud We vanish slowly in the crowd
Resperidone, the new tea brew
Quiet minds in static view Fork in the road, by the sea we stand Bathymetry traced in soul and sand
Invisible paths, the labyrinth sings We mistook noise for gravity’s rings You want the house still, free of harm But the woman bangs the pots — her charm
The empire of futility Attired in nobility Mirrors turn, the spiral grows Stagnant waters, no one knows (Francisco Silva & Raquel Pinheiro)
poem 80 sleepless nights, stuck perpetual movement fading through the elevator crex crex crex crex makes the artach hearth and home lucid tiles echoing the megaphone is easier than read serious books slogans are easier than moral inventory. the empire of futility disguised as art, intellectualism the sound mirrors, a spiral a stagnant pool of nothingness resperidone, the new chamomile there’s a road with a fork for you and me by the sea bathymetry of the soul invisible pathways labyrinth, the song mistaken noise for gravity symbols for substance brought us here you want the house quiet but a woman bangs the pots monks don’t worry about money terror dreams, rage somatic overload the lucid one in a house of somnambulists fog can’t be fought, what it erases is watched don’t go back to sleep the messiness of desire recycle, renewal, redemption like a benediction all the plants are watered (Raquel Pinheiro)
Tracklist: 01: Francisco Silva & Raquel Pinheiro – When Joe Came By 02: Raquel Pinheiro – Loss 03: Pixies – Hey (Manuel Carvalho) 04: Sérgio Rocha – Seclusões (excerpt) 05: Francisco Silva & Raquel Pinheiro – Lucid One 06: digei de bairro – MG B GT (pre-master) 07: Suki Waterhouse – Supersad (António Cunha) 08: Boxmonsters – Holligans 09: Francisco Silva – The Asphalt World (acoustic excerpt) 10: Talking Heads – Burning Down the House (Raquel Pinheiro) 11: caroline – Tell Me I Never New That feat. Caroline Polachek (Paulo Navarro) 12: Raquel Pinheiro – The Asphalt World 13: Oh Bobby – Sweet Peace 14: Lyn Collins – Think (About It) (Matt Hutchison) 15: Ned Swarbrick – Mr. O’Brien (mix 1.1) 16: João Diogo Zagalo – Lotar n.º 4 17: Boxmonsters – Car Crash 18: Raquel Pinheiro – December: Death 19: American Music Club – Why Don’t You Stay (Rui Pimenta)
Mondo Bizarre Magazine 