Song of the Day: Free by Michael Fredo


Today is National Freedom Day, which celebrates the anniversary of President Lincoln singing the joint House and Senate resolution that proposed the 13th amendment to the U.S. Constitution.

Today’s song of the day is a favorite of mine and I think it deserves to be heard by more people.  Here is Michael Fredo with Free.

Ain’t never had a day, never had a day
Ain’t never had a day, never had a day

Rising up, the morning sun
Walking down the street, oh, my day has just begun
I’m feeling fine, what’s come over me?
Ain’t never had a day when I feel so, feel so

Feel so free
Ain’t never had a day, what’s come over me, baby?
Feel so free, yeah
Ain’t never had a day, what’s come over me?

I thought this day would never ever end
I felt so high (Felt so high)
I’d do it all again (I’d do it all again)
I can’t explain what’s been in my heart
It’s not about a girl (It’s not about a girl)
It’s about my day and how it started

Feel so free
Ain’t never had a day, what’s come over me, baby?
Feel so free, yeah
Ain’t never had a day when I can fly so, fly so

Oh, oh, oh, oh
I’ve waited for you so long and I cannot say goodbye
So come and fly with me
I’ll take you to a place that you would rather be

The day is done, the night is here
I look up to the sky with stars perfectly clear
The moon is full, I praise the Lord
For another day that we can say, we can say hey

Oh, oh, oh, ain’t never had a day, what’s come over me, baby?
Feel so free, yeah
Ain’t never had a day when I can, when I can groove with you
Never had a day, never had a day
Ain’t never had a day, what’s come over me, baby?
Feel so free, yeah

Never, never, never, never had a day

Free, free
Free, free

Song of the Day: Nothing Ever Happens On Mars from Waiting For Guffman


Today’s song of the day could probably double for a scene that I love but that’s okay.  I’ve always loved the Nothing Ever Happens On Mars song from Waiting to Guffman.

(Mars?  “Where’s that!?”)

It’s such a marvelous scene.  Yes, it captures the absurdity of regional theater but it also captures the underlying sweetness of it as well.  We may laugh but it’s still hard not to be touched by how much the members of the audience love it.

And, in the contest of the show, it’s a nice reminder that we’re not that different.  Martians get bored with their hometown as well!

Song of the Day: Raindrops Keep Fallin’ On My Head, performed by BJ Thomas


Because today is Paul Newman’s birthday, I figured today’s song of the day should come from one of his films.  There’s a tendency amongst some critics to be dismissive of the use of Raindrops Keep Fallin’ On My Head in Butch Cassidy and the Sundance Kid and it’s true that it’s not really the type of song that brings to mind robbing trains and dying in South America.

(Though we all know that Butch Cassidy — and maybe the Sundance Kid, too — actually survived and eventually returned to America.  We all know that, right?)

But, you know what?  It’s a song that really gets stuck in your head and somehow, it just feels appropriate for Paul Newman, an actor whose life wasn’t always happy (his son overdosed in 1976) but who was still almost always described as being one of the nicest guys around.  Plus, look at Paul on that bicycle!  How can you dislike this song?

 

Song of the Day: The Number of the Beast (by Iron Maiden)


Iron Maiden’s “The Number of the Beast” has always been more than its fire-and-brimstone title suggests — it’s paranoia turned into power. The song’s galloping riffs and Bruce Dickinson’s almost theatrical wail capture the feeling of witnessing something apocalyptic yet beautiful. In the context of 28 Years Later: The Bone Temple, that sense of awe and fear fits perfectly with the film’s tone. The track mirrors the world’s collapse into ritual madness — humanity trying to reframe its pain through cultish belief, just as Maiden’s lyrics dance between religious imagery and sheer existential panic.

There’s also a rhythm to the song that mirrors how The Bone Temple paces its moments of horror and release. The pounding drums feel like the heartbeat of survivors, racing through collapsed cities while their faith in reason splinters. Just as Iron Maiden’s piece builds to a manic crescendo, the film layers intensity until chaos feels almost sacred. The chorus could easily underscore the movie’s climactic sequences — not as a literal choice, but emotionally, where fascination with evil becomes indistinguishable from fear.

What ties them together most is their shared refusal to moralize the apocalypse. Iron Maiden tells a story about vision and hysteria — not right or wrong — and The Bone Temple does the same, showing how people build new devotions in the ashes of old systems. Both suggest that when we stare into horror long enough, it stares back with rhythm and purpose. In that way, “The Number of the Beast” isn’t just an anthem of terror; it’s a hymn for the end of reason — making it the perfect spiritual soundtrack for this chapter of the 28 Years Later world.

The Number of the Beast

Woe to you, o’er Earth and Sea
For the Devil sends the beast with wrath
Because he knows the time is short
Let him who hath understanding reckon the number of the beast
For it is a human number
Its number is six hundred and sixty six

I left alone, my mind was blank
I needed time to think to get the memories from my mind
What did I see? Can I believe that what I saw
That night was real and not just fantasy?
Just what I saw, in my old dreams, were they
Reflections of my warped mind staring back at me?
Cause in my dreams, it’s always there
The evil face that twists my mind and brings me to despair

Yeah!

The night was black, was no use holding back
Cause I just had to see, was someone watching me?
In the mist, dark figures move and twist
Was all this for real or just some kind of hell?

666 the number of the beast
Hell and fire was spawned to be released

Torches blazed and sacred chants were phrased
As they start to cry, hands held to the sky
In the night, the fires are burning bright
The ritual has begun, Satan’s work is done

666 the number of the beast
Sacrifice is going on tonight

This can’t go on, I must inform the law
Can this still be real, or just some crazy dream?
But I feel drawn towards the chanting hordes
They seem to mesmerize, can’t avoid their eyes

666 the number of the beast
666 the one for you and me

I’m coming back, I will return
And I’ll possess your body and I’ll make you burn
I have the fire, I have the force
I have the power to make my evil take its course

Song of the Day: Luck Be a Lady (by Robert Alda)


In The Wrangler, using Robert Alda’s original version of “Luck Be a Lady” from Guys and Dolls hits differently than the more famous Sinatra take. Alda’s rendition, coming from the Broadway stage, is less smooth and more desperate—it’s a man bargaining with luck, not charming her. That’s a crucial difference in Fallout’s world. When Alda’s voice drifts through the smoky ruin of The Wrangler, it feels like an echo from a long-dead civilization—one where people still believed that fortune was something you could negotiate with. It grounds the scene in Fallout’s favorite tension: the clash between old optimism and new despair.

Thematically, the original version suits Fallout’s tone better. Sinatra’s version oozes control and self-assurance, while Alda sings with the anxious rhythm of someone clinging to hope. In the episode, that anxiety fits the stakes perfectly—characters gambling with their lives, exchanging trust for survival, and hoping the “lady” of luck doesn’t turn her back at the wrong moment. The Broadway earnestness becomes a tragic counterpoint to the brutality around it, emphasizing how fragile that old-world faith in luck or charm truly is.

By choosing Alda over Sinatra, the show subtly reframes what “luck” means in this universe. It’s not style or swagger—it’s survival by the skin of one’s teeth. The song’s theatrical flair feels almost haunting in a world where the audience is gone and the casino’s collapsed. Yet that’s what gives the moment its punch: Fallout has always used nostalgia as both soundtrack and satire, and with Alda’s pleading vocals hanging in the air, The Wrangler reminds us that sometimes, luck isn’t a lady at all—it’s just what’s left when everything else runs out.

Luck Be a Lady

They call you Lady Luck
But there is room for doubt
At times, you’ve had a very unlady-like way of running out
You’re on this date with me
The pickin’s have been lush
And yet before this evening is over
You might give me the brush

You might forget your manners
You might refuse to stay
And so the best that I can do is pray

Luck be a lady tonight
Luck be a lady tonight
Luck if you’ve ever been a lady to begin with, luck be a lady tonight

Luck let a gentleman see
How nice a dame you can be
I know the way you’ve treated other guys you’ve been with
Luck, be a lady with me

A lady doesn’t leave her escort
It isn’t fair, it isn’t nice
A lady doesn’t wander all over the room
And blow on some other guy’s dice
Let’s keep this party polite
Never get out of my sight
Stick me with me baby, I’m the fella you came in with
Luck, be a lady tonight

Luck, let a gentleman see
Just how nice, how nice a dame you can be
I know the way you’ve treated other guys you’ve been with
Luck be a lady with me

A lady doesn’t leave her escort
It isn’t fair, and it’s not nice
A lady doesn’t wander all over the room
And blow on some other guy’s dice
So let’s keep the party polite
Never get out of my sight
Stick with me baby, I’m the guy that you came in with
Luck be a lady
Luck be a lady
Luck be a lady, tonight

Song of the Day: Lo and Behold, covered by Marjoe Gortner


It’s Marjoe Gortner’s birthday!

Marjoe Gortner is a former child evangelist who had a long career as an actor in films, usually playing sinister characters.  His most-seen film was probably Earthquake.  My favorite Marjoe film is Starcrash.  That said, Marjoe’s best performance was probably as himself in the candid documentary, Marjoe.  The Oscar-winning film featured a look behind the scenes of the religious revival industry, with Marjoe as an amoral tour guide who discussed how he didn’t believe what he was preaching and who had basically been forced into the business by his parents.  Marjoe described how every word he preached was calculated to inspire people to donate more money to his ministry.  Marjoe described himself as being “bad but not evil.”

In 1972, Marjoe recorded an album called, after his famous documentary quote, Bad But Not Evil.  Today’s song of the day is Marjoe Gortner covering Bob Dylan’s Lo and Behold on that album.

I pulled out for San Anton’I never felt so goodMy woman said she’d meet me thereAnd of course, I knew she would
The coachman, he hit me for my hookAnd he asked me my nameI give it to him right awayThen I hung my head in shame
Lo and behold! Lo and behold!Looking for my lo and beholdGet me outta here, my dear man
I come into PittsburghAt 6:30 flatI found myself a vacant seatAnd I put down my hat
“What’s the matter, Molly, dear?What’s the matter with your mound?”“What’s it to ya, Moby Dick?This is chicken town!”
Lo and behold! Lo and behold!Looking for my lo and beholdGet me outta here, my dear man
I bought myself a herd of mooseOne she could call her ownWell, she came out the very next dayTo see where they had flown
I’m going down to TennesseeGet me a truck or somethingGonna save my money and rip it up
Lo and behold! Lo and behold!Looking for my lo and beholdGet me outta here, my dear man
Now, I come in on a Ferris wheelAnd boys, I sure was slickI come in like a ton of bricksLaid a few tricks on them
Going back to PittsburghCount up to 30Round that horn and ride that herdGonna thread up
Lo and behold! Lo and behold!Looking for my lo and beholdGet me outta here, my dear man

Song of the Day: Every Breath You Take vs The Theme From Peter Gunn


I was thinking of re-binging The Sopranos next month and that led to me remembering this totally awesome bit of music from the show’s third season premiere!