Today’s song of the day was used to surprisingly good effect in Stanley Kubrick’s 1987 Vietnam war film, Full Metal Jacket.
Today’s song of the day was used to surprisingly good effect in Stanley Kubrick’s 1987 Vietnam war film, Full Metal Jacket.
Since today is Francis Ford Coppola’s birthday, it only seems appropriate that today’s song of the day should come from the soundtrack of one of his films.
From 1979’s Apocalypse Now, here is the haunting music that plays as Willard and the boat approach the infamous bridge that is built every day so that it can be destroyed every night. This musical piece was composed by Francis Ford Coppola’s father, Carmine.

“Blue Sky” by The Allman Brothers Band is one of those songs that instantly lifts your mood — like cruising down a long stretch of highway under perfect weather. Dickey Betts wrote and sang it, and you can feel his sense of ease and optimism through the melody. But while the vocals are sunny and inviting, it’s the guitar work that really carries the song’s soul. Betts and Duane Allman trade licks like two friends finishing each other’s thoughts, creating one of the best musical conversations in rock.
Around 1:07, Duane Allman takes off with the first guitar solo. It’s bright, flowing, and packed with his signature slide-guitar emotion. Duane doesn’t just play notes — he makes the guitar sing, full of expressive bends and lyrical phrasing that sound spontaneous but purposeful. His solo feels alive, like he’s narrating the feeling of absolute freedom the song evokes. There’s a spiritual quality to his touch that sets the tone beautifully for the rest of the jam.
Then at about 2:37, Dickey Betts steps in with his solo, and the vibe subtly shifts. Betts’s lines are cleaner, more melodic, and dance across the rhythm with an almost country-like cheer. His phrasing is so smooth you can hear the future seeds of his later work, where melody takes center stage. While Duane’s solo soars in a soulful, searching way, Betts’s solo feels precise and joyful — he’s painting in sunlight. Together, their contrast creates a satisfying balance between fire and finesse.
The two guitars eventually weave together in harmony, returning to the main theme before easing back into the song’s final verse. It’s one of those moments that reminds you why the Allman Brothers were so special—the sheer communication happening between players. No flashy gimmicks, no ego, just musicians playing from a place of joy. If you’re new to the band, “Blue Sky” is the perfect entry point. It sums up their balance of skill and soul, and it’s the last recording Duane Allman played on before his passing, which gives that final harmony an even deeper resonance.
Blue Sky
Walk along the river, sweet lullaby, it just keeps on flowing,
It don’t worry ’bout where it’s going, no, no.
Don’t fly, mister blue bird, I’m just walking down the road,
Early morning sunshine tell me all I need to know
[CHORUS:]
You’re my blue sky, you’re my sunny day.
Lord, you know it makes me high when you turn your love my way,
Turn your love my way, yeah.
[Duane Allman guitar solo @1:07]
[Dickey Betts guitar solo @2:37]
Good old sunday morning, bells are ringing everywhere.
Goin to Carolina, it won’t be long and I’ll be there
[CHORUS]
Great Guitar Solos Series
Bette Davis was born 108 years ago today. Today’s song of the day just feels right.
Her hair is Harlow gold
Her lips a sweet surprise
Her hands are never cold
She’s got Bette Davis eyes
She’ll turn her music on you
You won’t have to think twice
She’s pure as New York snow
She got Bette Davis eyes
And she’ll tease you, she’ll unease you
All the better just to please you
She’s precocious, and she knows just what it
Takes to make a pro blush
She got Greta Garbo’s standoff sighs, she’s got Bette Davis eyes
She’ll let you take her home
It whets her appetite
She’ll lay you on a throne
She got Bette Davis eyes
She’ll take a tumble on you
Roll you like you were dice
Until you come out blue
She’s got Bette Davis eyes
She’ll expose you, when she snows you
Offer feed with the crumbs she throws you
She’s ferocious and she knows just what it
Takes to make a pro blush
All the boys think she’s a spy, she’s got Bette Davis eyes
She’ll tease you, she’ll unease you
All the better just to please you
She’s precocious, and she knows just what it
Takes to make a pro blush
All the boys think she’s a spy, she’s got Bette Davis eyes
She’ll tease you
She’ll unease you
Just to please you
She’s got Bette Davis eyes
She’ll expose you
When she snows you
‘Cause she knows you, she’s got Bette Davis Eyes
She’ll tease you
Songwriters: Donna Weiss / Jackie De Shannon
Today’s song of the day is this beautiful and haunting piece from 2010’s True Grit.
Today’s song of the day was used to beautiful effect in 1995’s Heat.
Here’s is one of my favorite instrumentals of all time, Moby’s God Moving Over The Face Of The Waters.
Yesterday’s song of the day came from Ben-Hur so it only seems appropriate that today’s song of the day should come from Elmer Bernstein’s classic score of 1956’s The Ten Commandments.
Today’s song of the day comes to use from 1959’s Ben-Hur. Here is the Overture, composed by the great Miklós Rózsa.
Today’s song of the day was not specifically written for the Kill Bill soundtrack but that’s still the film that I’ll always associate it with. Here is Tomoyasu Hotei and Battle Without Honor or Humanity.
This song was one of my father’s favorites. I miss you, Dad.
He was a hard-headed man
He was brutally handsome, and she was terminally pretty
She held him up, and he held her for ransom in the heart
of the cold, cold city
He had a nasty reputation as a cruel dude
They said he was ruthless, they said he was crude
They had one thing in common, they were good in bed
She’d say, ‘Faster, faster. The lights are turnin’ red.”
Life in the fast lane
Surely make you lose your mind, mm
Are you with me so far?
Eager for action and hot for the game
The coming attraction, the drop of a name
They knew all the right people, they took
all the right pills
They threw outrageous parties, they paid heavenly bills
There were lines on the mirror, lines on her face
She pretended not to notice, she was caught up
in the race
Out every evening, until it was light
He was too tired to make it, she was too tired
to fight about it
Life in the fast lane
Surely make you lose your mind
Life in the fast lane, everything all the time
Life in the fast lane, uh huh
Blowin’ and burnin’, blinded by thirst
They didn’t see the stop sign,
took a turn for the worse
She said, “Listen, baby. You can hear the engine
ring. We’ve been up and down this highway;
haven’t seen a goddam thing.”
He said, “Call the doctor. I think I’m gonna crash.”
“The doctor say he’s comin’, but you gotta pay him cash.”
They went rushin’ down that freeway,
messed around and got lost
They didn’t know they were just dyin’ to get off
And it was life in the fast lane
Life in the fast lane
Songwriters: Joseph Fidler Walsh / Glenn Lewis Frey / Donald Hugh Henley