Return To Waterloo. Starts at 53:28 We get a reprise of Return To Waterloo. This is accompanied by the train and passenger shots. Everybody gets off the train and we see the identikit picture again. It is a shortened version working as a fairly standard reprise. Voices In The Dark. Voices in the subway, Looking for the overnight. Echo in the darkness, Lonely cries within a sound. A voice that has no face, Is lost in time and inner space. Chasing dreams that got lost in the dark. Reaching out, always searching, Lonely voices in the dark. [This is Surbiton, Surbiton. The train at Platform Two is for Wimbledon and Waterloo only.] Lonely voices in the dark. Lonely voices in the dark. A voice that has no face, Is lost in time and inner space. Chasing dreams that got lost in the dark. Reaching out, always searching, Lonely voices in the dark. Lonely voices in the dark. Lonely voices in the dark. Written by: Ray Davies Published by: Davray Music, Ltd. Starts at 57:05 We get the people walking through the station and see familiar faces from our bizarre ride. It is slightly odd. We see our guy walk past the ticket checking guy, and we see the shot of him going up to kiss some mystery lady.... Then we see the troublemaking kids get picked up by some guys in a fancy car. It flashes back to our guy and we see the mystery woman across quite away from him. The young girl who seems to be the substitute for his missing daughter walks past and he follows her... Then we see our guy look at Ray who gives him a look, and it freezes and Zooms in on his eye, and the song starts.... and the credits roll.... with a composite of tracks from the movie. The first part of the outro music is out song here Voices In The Dark, but it doesn't appear on the movie as such, as we go into the collage of movie tracks. This track has a sort of synth pop kind of sound. We have this sort of easy flowing track that sounds very unlike Ray or The Kinks in many ways. There is some vocoder stuff that brings to mind ELO again. In the background we get some station announcements. The song pulses along at a moderate tempo with a melodic synth line, and a sort of nondescript vocal mixed reasonably low.... like a lonely voice in the dark.
Return To Waterloo. This movie has many layers, and there are many conclusions that one could draw from it.... Is the main character a rapist? Is the main character just a lost lonely man who suffers from hallucinations... delusions? We are left leaning towards a mix between both of these I guess. On the whole we seem to be getting a picture of the breakdown of the family, individual mental health, the country as a whole, the youth being disenfranchised by society and somewhat rebelling... there are a lot of pictures being painted here, but none of them seem to be particularly in focus. It seems like amongst the questions there is one scene that stands out to me and that is the scene with the train rolling into the station and the station being decked out in Union Jacks, and our main passenger handing the keys over to the young boy on the platform. The boy seems to be initially excited and when he gets the keys to the kingdom (Kinkdom) the flags and regalia disappear and he is left sort of looking a bit down about it all.... but I'm not sure how that all ties into the story we have been looking at.... Unless there is some message about the futility of it all. To some degree this seems somewhat impenetrable, as Ray has thrown in a sort of Art Lover type theme, whereby it seems like it is about something, but it then seems to be probably about something else. We are given the impression that the dad had an affair... but that is brought into question somewhat when near the end we get the same flashback on the station platform, but he is nowhere near the woman in question..... so is it just that he had thoughts but never acted on them? We are also left in the dark about the daughter. To some degree also, we have this narrative running through the story about a daughter who left home, and during the course of the film, we are given some visuals that suggest that something untoward was going on between the father and the daughter, but are they Art Lover type baits as well.... Also at the end we have a scene where it seems clear that the daughter is actually dead... but is it clear? Or is it a scenario where we have this guy losing his mind and having a series of hallucinations? There seem to be a lot of dream sequence type sections, but are they dream sequences or memories..... I have to feel they are dream sequences based on the train cabin brawl, as at the end we see that it never really happened, and everyone gets off the train in one piece. In many ways this film creates more questions than it answers for me.... Did the guy split up with his wife? Did he ever have an affair? Was he actually a rapist at any point? Did he lose his job and pretend to be going to work while merely sitting in the park? Was his daughter missing, or was she in fact dead? Then there is another aspect that ties into it all... We have generational studies via the characters on the train... Is the train a portrait of England in a microcosm? We have the war time generation, complaining that the kids have no understanding or respect. We have the drone-like main character who would be in the middle generation, and he is caught in this robotic repetition, and seems to live out escapist fantasies in his head. Then we have the kids, who essentially disrespect the other two generations on every level, and go out of their way to make the journey uncomfortable for the other two generations.... Yet we also know that they will eventually end up joining in the merry-go-round ... money-go-round at some point, and is that the picture we have near the end where everybody gets to the station and dutifully follows all the rules required to get to the other side of the station walls..... However we look at the movie, it is quite interesting and it ties in to the narrative that Ray and the Kinks have been following for a couple of decades..... I look forward to folks unravelling this story with me, and perhaps we may come to some kind of conclusion about what it is exactly all about.... The Word Of Mouth and Return To Waterloo albums in themselves, somewhat suffer from competing with each other, recorded and released around the same time, and sharing some songs, but not others. Was it a case of Ray wanting/needing to do one of his concepts, but trying to make it a side project whilst satisfying Clive Davis' requirement for no concept/theatre/movie/soap opera albums? Yet making two projects at the same time somewhat relieves the pressure, and allows him to do this? Anyway.... personally I think that some form of amalgamation of these albums could well have been the crowning achievement in the Kinks Arista years, musically if not commercially.... and to some degree it seems like Ray could have tied it all into one project, or two depending how you look at it, and not two or three .... ie one album and a movie, rather than two albums and a movie. If made as one album, there would be more unity of sound, and perhaps in spite of the rumblings, Dave may have more fully participated. Return To Waterloo. Intro (edited to run into the title track)/Return To Waterloo 5:25 Do It Again 4:14 Good Day 4:35 Living On a Thin Line 4:16 Expectations 4:06 Sold Me Out 3:44 Massive Reductions 3:15 Missing Persons 2:53 Lonely Hearts 3:05 Summer's Gone 3:52 Voices In The Dark (with a slightly less Ultravox/OMD sort of sound to it) 4:22 That leaves off Guilty, which Ilike quite a bit, but wouldn't probably fit on here in this context. Too Hot, which I like quite a lot, but doesn't seem right for these songs Going Solo, which is pretty good, but I don't think it is as strong a song as the others. Not Far Away, which I also actually like, and almost made it into the mix, but space on a record destroys that. Word Of Mouth, but It doesn't fit, and I think there are better songs ... perhaps a re-arrangement would make it a bit better. Ladder Of Success also misses the boat, but it didn't make it onto either album The Good Times Are Gone suffers the same fate. If we had all the songs recorded by the band as the band, and arranged for that, perhaps Return To Waterloo . alt complete Intro/Return to Waterloo 5:25 Do It Again 4:14 Good Day 4:35 Ladder Of Success (as recorded by the band, not the cast) 3:50 Going Solo 3:58 Missing Persons 2:53 Sold Me Out 3:44 Guilty 4:12 Lonely Hearts 3:05 Word Of Mouth 3:51 Massive Reductions 3:15 The Good Times Are Gone 2:00 Not Far Away 4:23 Living On A Thin Line 4:16 Too Hot 4:08 Summer's Gone 3:52 Expectations 4:06 Voices In The Dark 4:22 Return To Waterloo reprise 2:30 To some degree, although I don't hear every song as a Klassic Kinks song, setting it out something like this, with probably some tweaking in the order, it has a sort of flashback to the Preservation era, with a kind of thematic soap opera type album, in a similar kind of vain to Preservation.... and I actually reckon that with the songs recorded by the band, and arranged for the band, I may have liked this even more... I don't know, it's all futile speculation, but I've spent so much time on this movie album so far, I had to fiddle with it quickly to see what it would look like lol.... and it would fit on one cd Anyway, on the thread in real time it's Sunday 6/26/22, and we haven't even started the album/movie.... so perhaps I'll post this and add addendums afterwards lol --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- So after going through it all, and reading everyone's comments, and watching the MTV documentary, I like the movie, and I think it is understandable. It's interesting how the movie is set in a loop, with the traveler going passed Ray at the beginning and the end, following the same the same girl, but with a different result. We obviously ended up with most of the movie being based in the fleeting thoughts in the traveler's head, as he is caught in the monotony of the same train ride, with likely many of the same people, day in, day out. The tension between the generations represented on the train. and I still feel that even though it isn't directly pointed to, the traveler and his observational thoughts and imaginings tie very closely with the writer (Ray) and his natural default, of sitting quietly and observing everyone around him.
It should be noted that Ray's eldest child Louisa Davies does the backing vocals on 'Voices In The Dark' (as I believe she did on a one or 2 WoM songs but this one seems like her most significant contribution in terms of being integral to the track). Louisa would have been 18 or 19 when this was recorded: Although I don't know (and don't presume it's my business) much of the personal details, I don't think it takes Sherlock Holmes to spot the parallel of this film/album's thematics of a teenage daughter flying the coop with what was likely going on in in Ray's extended family at the time, although of course Ray wasn't in residence the coop by then and I suspect they may have actually reconnected in this timeframe, hence Louisa turning up on these tracks. It's maybe not A1 Ray drop a cold key down my spine genius, but this is still an adequately haunting track. I think the idea of 'lonely voices in the dark' could apply just as well in the contemporary milieu to messages posted online, often not attached to faces lingering on years after their were posted. I can often get depressed looking at old websites, or old social media posts from years, now decades ago, the marks of times and evens hopes and dreams that are no longer in the here and now.. someone slap me I'm getting sentimental and maudlin ovah heah!
Although the OMD/Ultravox was a bit dated by this time, Voices in the Dark is another excellent song on this album that I really want to be reissued on CD!
"Voices In The Dark" = this is a pretty Eighties sounding track which makes a lot of sense because it was written and recorded in the middle of the decade. At the core of it all, regardless of the production choices made, you still have a pretty good Ray Davies song. And that usually carries with it a certain amount of melancholy and the idea of "lonely voices in the dark" expressed in the song certainly makes this song fit into that category. It sounds mournful and filled with a certain sadness. "Reaching out and always searching" - this makes me think of the song "Still Searching" which will appear on Phobia. I like this song because it captures a mood perfectly and is a fitting end to this cycle of songs.
And we’ve been talking about some songs sounding “eighties” since Give the People what they want!! Voices in the Dark is the most eighties sounding the Kinks ever were, this blend of oriental melody, synth and vocoder could be directly lifted from any ELO record from Discovery on. And it’s a compliment! OMD/Ultravox, I hear it too, and enjoy it. Someone talked about Arcade Fire yesterday regarding Expectations, with good reason… I’ll argue that with Louisa in Regine Chassagne role, Voices in the Dark is more Arcade Fire than anything else in Ray’s canon. It's almost weird, actually, especially after someone mentioning them yesterday. This is a hard one to grasp, its lyrical tone is 100% poetic and bleak, drenched in a humorless desperation. Only the music’s faux-orientalism provides levity and a good chunk of Kinksness to the track. I find it surprising that it's not featured in the film after all (except for some instrumental bits in the end titles). It makes this the odd one out musically, lyrically, in terms of fitting in the concept, and in the long list of Ray songs, it's probably the most abstract. But it's both haunting and light, not sinister at all. The alternate version that you'll find at the end of this video (42'00'' mark, should start there) is more guitar driven, still quite beautiful.
Voices In The Dark My opinion is this track was started as a Ray demo and much of that demo remains in the final mixes released either in the movie or the two album releases, one on the soundtrack album and the other on a later compilation. This finished track was not recorded in 1983 with most of the other tracks on the album. It’s unknown when the demo was recorded, but it uses electronic drums which can be heard on the short instrumental version in the movie during the end credits. The version on the album based on the demo retains these electronic drums with new studio real drums overdubbed by Robert Henrit in early 1985. Listen to the alternating snare drum beats during the intro when the drums come in and you can hear the alternating timbres in the snare sounds. Henrit is hitting every other snare beat (with reverb) before the vocal starts, drops out on the snare during the first two verses and first bridge leaving the demo drums only, then comes back in after that on all snare hits and various fills for the duration of track. The demo drums are mixed out starting at that point. An alternate mix of “Voices In The Dark” was released in 1997 on the UK Castle Essential 2 CD set The Singles Collection/The Songs Of Ray Davies Waterloo Sunset. It’s a stripped down less bombastic mix without some of the overdubs. This alternate mix shares some of the elements of the demo and the album version, but all drums here are real and it does not retain any of the demo electronic drums. The drums start out with a cross stick on the snare instead of the full snare (electronic or real) as on the album mix. The full snare comes in gradually later at the same point the album mix goes to the full real snare and matches the album's real drums at this point (minus the reverb) as the fills are the same from that point forward. I This alternate mix also has a different lead vocal, at least in part, evidenced by Ray singing “overground” instead of “overnight” in the first verse. Also the acoustic guitar (especially at the beginning) and the electric guitar (especially at the end) are mixed more up front and you can hear some really nice fast Ray chicka-chicka strumming throughout. Check out the nice aggressive electric work during the last half of this mix. Most of this guitar work is obscured in the album mix. Finally , one interesting thing to comment on for the melody and arrangement is the number of bars of the verse/chorus sections. It's not the usual 8 bars a verse (or multiples of 4 bars). It's actually 7 bars per verse/chorus (with a couple of verses/bridges extended to 9 bars for transitions). Very unusual for a pop/rock song. Famously McCartney's "Yesterday" was also written with 7 bars for the verses. Voices In The Dark (Alternate Mix) Edit: ha ha I see @Fortuleo 's post and mine passed in mid cyber space at the same time. This is that version.
I watched until the end of the movie last night and thought I'd missed something, as I don't remember any song called "Voices In The Dark". However, I now see that it's the music over the closing credits and we only get an instrumental version there. Just listened to the full song and indeed it is very 80s-sounding. Actually, it doesn't sound too unlike some of Dave's more electronic tracks on Chosen People, and lyrically it has a more vague Dave-type feel than we usually get from Ray. As with all the movie-exclusive tracks, I would need to hear it a few more times to absorb it. In the unlikely event that I was to stumble across a vinyl copy of the album for a reasonable price I would pick it up, but otherwise I suspect that these tracks will remain outside of my kore Kinks listening. I'll try and put together some thoughts on the movie later - might need to watch that MTV doc first.
Return to Waterloo: I had enough self awareness to sit out the concept album years. What started out innocently enough on Preservation Act I ballooned into a cottage anti-industry that took the momentum "Lola" had given The Kinks and drove it straight into the ground, turning what could have been Stones/Who size masses into a cult audience. While I don't hate those albums (there are too many good individual songs for that), I'm glad I was spared the visual presentation of each, save for that one viewing of Starmaker that I'm still seeking therapy over. It's been years since I watched this, and never before have I delved into exactly why I don't like it. There was no chance of seeing this in real time. I believe it played for a few weeks in art houses in a few major cities, and then it was gone. I remember my excitement at buying the DVD, finally, I get to see this gem. Well, if you blow up a balloon, pinch off the end then let it flutter around the room before falling, that's how the next hour felt. On the plus side, there were all those very good Kinks videos as bonus tracks, and I have found myself returning to them on occasion over the years. I can see what Ray was trying to do: capture the immediacy and brilliance in those videos (particularly "Come Dancing") and distill that into a longer story form, using the videos to tell the story. Well, something got lost in the translation. I can see the problem in how Ray described the genesis of the project, quietly riding the train from his suburban home near London into the recording studio daily and noting the characters he was seeing. "Hanging on in quiet desperation is the English way," as Pink Floyd once noted. He's on the outside looking in and doesn't really get this way of life. Which is one thing - I can at least enjoy businessmen singing and dancing around in suits to various numbers. But there's such a shallow, predictable quality of thought he uses to portray these people, the negative qualities he attaches to them and their way of life. I can just see him slouched in his seat, cool pair of shades, stylish shoulder-length hair, blazer, jeans and frilly shirt ... living out the mediocre thought process that resulted in Soap Opera. And what we get is soap opera. They don't know I'm looking at them, Ray slyly thinks to himself. Yeah, well, thank heaven for small favors, as they'd have booted his **** off the train between stations if they knew what he had in store for them! The upside? Most of the music is fantastic, starting with the title track. I'll even go the extra yard and say he did a great job of creating musical numbers/videos in the context of the movie. He clearly hired the right people to get good visuals, and he was obviously learning a lot about that format along the way. Problem for me is it doesn't work over the course of an hour, or add up to anything compelling that tells me something relevant about humanity. He communicated so much more in the few minutes of music in "Waterloo Sunset" than the movie of Return to Waterloo conveys in an hour. The other week, I had to travel back to NYC, via bus, later than I'd have liked on a Sunday. I was surprised that traffic wasn't that bad ... maybe I didn't make a mistake after all. Then we took the exit off the New Jersey Turnpike for the Lincoln Tunnel and were immediately met with a sea of taillights at dusk: the dreaded late weekend traffic jam. It took us an hour to travel five miles to the tunnel, which is why I normally don't do this! I didn't look at my fellow passengers and think, "My, I wonder what's going on in their heads. Let me observe and imagine." I just sat there and felt that nerve-wracking irritation of stop-start traffic. And I would surmise that's what's missing from Return to Waterloo: recognizing you're all on the same bus, in the same situation, going to the same place. After some point of riding the subway for decades, it occurred to me: if I'm riding the train, too, then I'm not above it all, or on the outside. I'm one of them.
“Voices In The Dark”: A very good song and a fitting one to end Return to Waterloo, as the lyrics give off a sense of melancholy about the hopes and dashed dreams of the commuters of the Underground. I guess that the word “awkward” could be used to describe Return to Waterloo, as it’s running time of 1 hour, while fine for a TV program, was too short for a theatrical release, although it did play in a theatre or two. Perhaps if Ray could have added an half hour of additional material somehow. Also, Dave’s refusal to participate musically in the project left Ray in the awkward position of releasing some of the music on Word of Mouth and the remainder on a soundtrack under his own name as a kinda sorta solo project. It would have been better for the music to be integrated in one album, as Our Headmaster has suggested, w/some of the excluded songs possibly carry over into Think Visual, possibly improving that album. As it stands, Return to Waterloo, is another botched opportunity in the Kinks’ career through self sabotage, this time coming from Dave. Finally, there is a coda to Return to Waterloo which appeared in 1997 in the form of a short story of the same name which appeared in the US version of Waterloo Sunset, Ray’s collection of short stories. The story is told in the point of view of the person who purportedly was the inspiration of The Traveler, who basically calls out his creator (Ray) of being presumptuous in knowing what’s in his head. Spoiler: Spoiler Alert The character is a serial killer
Return To Waterloo Reprise Slow, sparse, reverberative & fittingly taking sobering stock of not just the travellers plight in life but potentially everyone's!
Excuse the slight OT. Yesterday I watched John Carpenter's version of The Village of the Damned (1995), a great movie by the way. The music was signed by Carpenter himself and one Dave Davies. Is that our Dave? There were some electric guitar pieces in the film (very nice, although they didn't fit very well with the scenes if you ask me), so I thought it may very well have been him.
We should definitely do the Village Of The Damned soundtrack on this thread! Although the film itself is maybe one degree too removed to be relevant.. or not. I’ll leave it up to @mark winstanley !
Voices In The Dark (Alternative Mix) I comment on this one as I have heard it for many years on my 2CD Singles/Return To Waterloo compilation. This took time to grow on me as the mid eighties contemporary backing was a bit alien to my minds pleasure receptors. A sweet melody and hook of which Louisa Davies contributes a beautiful part that could make one think like mother like daughter. Here Ray is more than just sympathetic to his subject/s and profers empathy with his performance. No stranger this Davies guy to examining the common or troubled person that is locked into rinse and repeat life that may need help in seeing any alternative or road to salvation!
Return to Waterloo This is such a clever title, almost too clever for its own good. The return ticket, the tentative return to the spirit of a famous song, the return to a name of great historical and national value, a return on oneself and on many aspects of life… It’s a look back, a come-back, and it's a daily routine for many commuters, returning to that station twice a day, every day of their working life. All those layers are a bit too much, really, Ray may’ve tried to put too much into this little debut film of his… My own favorite sub-meaning of the phrase happens with the reprise, when we return to… Return to Waterloo, the opening song, to wrap up everything in an elegant and effective way. The journey is coming to an end. Yes, it was probably a psychoanalytic endeavor, in and out of a mental tunnel going through the past, the fears, the fantasies and the long lost dreams of the main character, whoever he was… For that reprise, the lyrics are different, we get an extra verse that loops back to the words Ray sang in the subway at the very beginning of the film: “Starting off this morning as usual In a panic cause I’m scared of missing the train Another day another Journey Is it necessary, or is it all in vain ? Look at all the people around me Same old faces joining the queue For our return to Waterloo” I’m scared of missing the train, he says. How beautiful is that line? The handclaps are not there anymore, nor is the ominous synth. The song's sadness appears to be more earnest, almost soothing this time, creating a powerful feeling of nostalgia, probably enhanced by our ten days collective exploration here, on the Thread of Threads. Be it 50mn or 10 days, we haven’t listened to that song in a while and its melodic beauty gets under one’s skin, at least mine. It makes us understand that something deep has happened in-between, something transformative for the character, a true introspection. He looks more relaxed now, still prone to the occasional rush of paranoid “visions” but able to get on with his (not so quiet?) life. @DISKOJOE, that was a brilliant "coup de théâtre" – and I bet you knew it all along!!) Everybody gets off the train, the three punks get in a fancy car. It looks like Tim Roth was actually the son of a millionaire? That’s so typical of Ray, and very well done. I must say that it’s a remarkable answer to those of us (me…) who expressed doubts about the clichéd and out of touch portrayal of these kids. Indeed, they were not the real deal, more little “princes of the punks”, if you will. The last look shared by the character and the filmmaker is the icing of the meta cake, making the film what @Luckless Pedestrian and @mark winstanley sensed from the get go : that it works as an allegory of the songwriter’s approach, all the little scenarios he will create from people passing him by. I'll also agree with @fspringer that Ray should've found a way to make himself part of that "train of life" thing. I think in the title song, he did : same old faces / joining the queue… In the film, probably not so much. About the Return to Waterloo/ Word of Mouth situation. Yes, it seems it all came down to Dave's refusal to be Ray's backing band and commercial asset for his side project as a film director. He said no, so the soundtrack wouldn't be labelled "Kinks", but I guess they still had to provide the label with a Kinks LP by contract… So Ray did his odds & sods thing. It's a frustrating situation, for sure, as there's no perfect timeline of that particular Kinks era, no perfect track-list (even in our collective "alternate world" of track-lists, ruled by master of the world @The late man), no perfect album experience. But we can also look at this as a gift keeping on giving : five good to great songs to add to the extended Kinks universe. I'll take that any day. And will return to them more often than not.
Voices in the Dark: This song just kind of reeks of everything that people who hate the 80s hate about the 80s. I love it. I loved the Blondie rip on GTPWTW (Add It Up, in case that wasn't obvious) and I love this Berlin/Flock of Seagulls style new wave rip as well. Even with the 80s synths and drum machines, the genius of Ray Davies stills cuts through Miami Vice production. the synth washes and "ooo-eee-ooo-eee-ooo"s are kinks level catchy and the bass (synth-bass?) is thumping' great. Sound wise, as I mentioned, I am hearing lots of Berlin (maybe Metro?) and Flock of Seagulls (..and I Ran So Far Away), but those are both 1982, which surprised me, as Ray always seemed to incorporate the new sounds in real time. I also hear a dash or two of ELO (the robotic voices remind me of one of their songs but I am drawing a blank right now). Lyrically, this song is pretty skeletal, it sounds like a sound track to a movie and, as a result, I am sure it sounds and looks great in the movie. Even though it does have a sound-tracky feel, I still think it is a fully formed song capable of standing on its own. As a random aside, I took the intro from the album, with the ghostly "ooo-eee-ooo-eee-ooo"s, and combined it with this song by placing it at the beginning. It sounds like a longer intro to this song and flows nicely.
The final song, Voices in the Dark, is a fine way to see out the movie. Unlike most of the other tunes Ray wrote for this movie, this couldn’t have been recorded by the Kinks. I have emerged from this process even firmer in my view that the Return to Waterloo soundtrack is an excellent album in its own right - to me, it’s better than Word of Mouth. As for the movie (spoiler alert) I don’t see the ambiguity that @mark winstanley points to. We know from Ray’s MTV interview that the Traveller isn’t the rapist - he’s just an ordinary Arthur in a failing marriage with a tendency to daydream on his mundane daily commute. The flags and the handing of the keys to the child show him as a child with his optimistic Empire-shrouded future laid out ahead of him. The things we see as clues to him being a rapist were, as Ray points out, deliberately added to make the story more interesting. I think it worked. It’s a really interesting mini-movie for a rock album. Better than Magical Mystery Tour too - though that’s not a high bar.
I’m currently reading Diary of A Rock And Roll Star by Ian Hunter, about Mott the Hoople’s late 1972 US tour and he mentions seeing the stars on Hollywood Boulevard like on “Celluloid Heroes” and that he heard that it was going to be released as a single, which he liked.