Main character is on Newbury St in Boston in the winter at night. Snow is falling down. He is looking at his ex gf's apartment and trying to catch a glimpse of her. He see's her through the window smiling and talking to someone. He has thoughts drift through his head (flashbacks) to when they were together and all the wonderful things they did. When he glances back in to the apartment he sees the person she is talking to is another man. They kiss and she closes the curtains. I need music for this scene. AND NO HE IS NOT STALKING HER. He is simply walking Newbury when he decides to look for her.
― Reginald, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Reg, Friday, 26 April 2002 00:00 (twenty-four years ago)
If it was my film I'd have summat by The Pixies, and I'd have the guy smiling and fiddling with an axe.
― Nick Southall, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Andy K, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Michael Daddino, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Sterling Clover, Friday, 26 April 2002 00:00 (twenty-four years ago)
Galaxie 500? Some other early '90s swoon-core band?
People seem to license Elliott Smith tunes for this sort of thing a lot.
― Lee G, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Chris, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Mitch Lastnamewithheld, Friday, 26 April 2002 00:00 (twenty-four years ago)
― The Guru, Friday, 26 April 2002 00:00 (twenty-four years ago)
― fields of salmon, Friday, 26 April 2002 00:00 (twenty-four years ago)
Side Two Bryter Layter Fly Poor boy Northern sky Sunday
All bass and string arrangements by Robert Kirby
Introduction (1:33) Dave Pegg, bass Dave Mattacks, drums Instrumental
Hazey Jane II (3:41) Dave Pegg, bass Dave Mattacks, drums Richard Thompson, lead guitar And what will happen in the morning when the world it gets so crowded that you can't look out the window in the morning.
And what will happen in the evening in the forest with the weasel with the teeth that bite so sharp when you're not looking in the evening.
And all the friends that you once knew are left behind they kept you safe and so secure amongst the books and all the records of your lifetime.
What will happen In the morning When the world it gets so crowded that you can't look out the window in the morning.
Hey, take a little while to grow your brother's hair And now, take a little while to make your sister fair. And now that the family Is part of a chain Take off your eyeshade Start over again.
Now take a little while to find your way in here Now take a little while to make your story clear. Now that you're lifting Your feet from the ground Weigh up your anchor And never look round.
Let's sing a song For Hazey Jane She's back again in my mind. If songs were lines In a conversation The situation would be fine.
At the chime of a city clock (4:42) Ray Warleigh, alto sax Dave Pegg, bass Mike Kowalski, drums
Iain Cameron's analysis of River Man & At The Chime Of A City Clock A city freeze Get on your knees Pray for warmth and green paper. A city drought You're down and out See your trousers don't taper. Saddle up Kick your feet Ride the range of a London street Travel to a local plane Turn around and come back again.
And at the chime of the city clock Put up your road block Hang on to your crown. For a stone in a tin can Is wealth to the city man Who leaves his armour down.
Stay indoors Beneath the floors Talk with neighbours only. The games you play Make people say You're either weird or lonely. A city star Won't shine too far On account of the way you are And the beads Around your face Make you sure to fit back in place.
And at the beat of the city drum See how your friends come in twos; Or threes or more. For the sound of a busy place Is fine for a pretty face Who knows what a face is for.
The city clown Will soon fall down Without a face to hide in. And he will lose If he won't choose The one he may confide in. Sonny boy With smokes for sale Went to ground with a face so pale And never heard About the change Showed his hand and fell out of range.
In the light of a city square Find out the face that's fair Keep it by your side. When the light of the city falls You fly to the city walls Take off with your bride.
But at the chime of a city clock Put up your road block Hang on to your crown. For a stone in a tin can Is wealth to the city man Who leaves his armour down.
One of these things first (4:46) Paul Harris, piano Ed Carter, bass Mike Kowalski, drums
It has been pointed out that this song's lyrics bears resemblances to 'The Way You Do The Things You Do' - a song written by Smokey Robinson and a hit single for The Temptations in 1965:
You got a smile so bright You know you could have been a candle I'm holding you so tight You know you could have been a handle The way you swept me off my feet You know you could have been a broom The way you smell so sweet You know you could have been some perfume
Well, you could have been anything that you wanted to And I can tell, the way you do the things you do
As pretty as you are You know you could have been a flower If good looks was a minute You know you could have been an hour The way you stole my heart You know you could have been a cool crook And baby you're so smart You know you could have been a schoolbook
You make my life so rich You know you could have been some money Baby you're so sweet You know you could have been some honey
Well, you could have been anything that you wanted to And I can tell the way you do the things you do I could have been a sailor, could have been a cook A real live lover, could have been a book. I could have been a signpost, could have been a clock As simple as a kettle, steady as a rock. I could be Here and now I would be, I should be But how? I could have been One of these things first I could have been One of these things first.
I could have been your pillar, could have been your door I could have stayed beside you, could have stayed for more. Could have been your statue, could have been your friend, A whole long lifetime could have been the end. I could be yours so true I would be, I should be through and through I could have been One of these things first I could have been One of these things first.
I could have been a whistle, could have been a flute A real live giver, could have been a boot. I could have been a signpost, could have been a clock As simple as a kettle, steady as a rock. I could be even here I would be, I should be so near I could have been One of these things first I could have been One of these things first.
Hazey Jane I (4:24) Dave Pegg, bass Dave Mattacks, drums Do you curse where you come from, Do you swear in the night Will it mean much to you If I treat you right. Do you like what you're doing, Would you do it some more Or will you stop once and wonder What you're doing it for. Hey slow Jane, make sense Slow, slow, Jane, cross the fence.
Do you feel like a remnant Of something that's past Do you find things are moving Just a little too fast. Do you hope to find new ways Of quenching your thirst, Do you hope to find new ways Of doing better than your worst. Hey slow Jane, let me prove Slow, slow Jane, we're on the move.
Do it for you, Sure that you would do the same for me one day. So try to be true, Even if it's only in your hazey way.
Can you tell if you're moving With no mirror to see, If you're just riding a new man Looks a little like me. Is it all so confusing, Is it hard to believe When the winter is coming Can you sign up and leave. Hey slow Jane, live your lie Slow, slow jane, fly on by.
― Simona, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Chloe, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Dan Perry, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Dave225, Friday, 26 April 2002 00:00 (twenty-four years ago)
― kiwi, Friday, 26 April 2002 00:00 (twenty-four years ago)
― Ned Raggett, Friday, 26 April 2002 00:00 (twenty-four years ago)
― bnw, Friday, 26 April 2002 00:00 (twenty-four years ago)
― A Nairn, Friday, 26 April 2002 00:00 (twenty-four years ago)
― dan, Saturday, 27 April 2002 00:00 (twenty-four years ago)
― Helen Bird, Saturday, 27 April 2002 00:00 (twenty-four years ago)
― Martin Skidmore, Saturday, 27 April 2002 00:00 (twenty-four years ago)
― Mitch Lastnamewithheld, Saturday, 27 April 2002 00:00 (twenty-four years ago)
Which version do you mean? There appear to be at least three of them, one from the Teatro album, one from the Me and Paul and an older one that's on the Nashville Was the Roughest box set (I'm assuming the Monument Story boxset version is the same.) The Teatro version doesn't appear to have an intro, so that's probably out.
― Phil, Saturday, 27 April 2002 00:00 (twenty-four years ago)
― Barnaby, Saturday, 27 April 2002 00:00 (twenty-four years ago)
― Clarke B., Saturday, 27 April 2002 00:00 (twenty-four years ago)
― Gilgamesh, Monday, 29 April 2002 00:00 (twenty-four years ago)
― Reg, Monday, 8 July 2002 00:00 (twenty-three years ago)
Incidentally, not for nothin', but haven't we all seen this exact scene in about three or four John Cussack films?
― Alex in NYC, Monday, 8 July 2002 00:00 (twenty-three years ago)
― Lord Custos III, Monday, 8 July 2002 00:00 (twenty-three years ago)