Monday, September 28, 2015

Kisses for All

Lately I have been completely hung up on the song Besame Mucho (I know the Beatles’ cover best).

For whatever reason, it keeps rising out of my subconscious whenever I drive the miserable roads of Austin. I sing it LOUD behind the wheel. (Cha-cha-boom!) 

Maybe it's an antidote to the fucked up drivers frequenting our congested byways, pissing me off. So I sing a big, loud kiss — maybe my message of love will get through to one of them one day. 

Lately, too, I am fixated on the Fastball song, The Way, because it’s going to play a part in a story I’m writing. I used to loathe hearing it 'cos it would stick in my psyche for effing ever. Argh: Song! Go away! I'm older now and I’ve grown to enjoy the invasion. I admit I've always loved the way the chorus rolls up and pays off with that growly guitar and melodic hook.* I admit it, I’m a sucker for that number. 

But wait.

Are they the same song?

Did Fastball tune into some universal melodic line when they turned Besame Mucho into The Way? To paraphrase: Did they even know what they what they were doing without even knowing the way? 

I have some doubts. And I'm not the only one.

There's a five-year old argument here. And I'm not even gonna start with the references to Delilah

Eh. Don't waste your time. Love the two songs. Okay, love Tom Jones and his mariachi conceit, too. Why the hell not? 

Kisses for all.

*And, really, this run always reminds me of the
segue into the bridge of Elvis Costello's Two Little Hitlers at this point. Just sayin'.