Song For You

SONG Song For You

WRITTEN BY Leon Russell

PERFORMED BY Donny Hathaway, Willie Nelson, Leon Russell

APPEARS ON Donny Hathaway (1972); Leon Russell (1972); Shotgun Willie (1973)

Leon Russell's classic "Song For You" takes as its starting point a tradition probably as old as songwriting itself: The troubadour seducing a estranged lover by professing everlasting love while asking his lover forgiveness for his flaws. I want to be what you want me to be, he sings, and I've learned so much from you. But I'll never be perfect, much less as perfect as you. Isn't it enough that "There's no one more important to me?" Isn't it enough that when I'm singing to "ten thousand people" I'm really singing to you? Because while I may be flawed, my love isn't: "I love you in a place where there is no space or time."

"Song For You" also demonstrates the power of a great song (not to mention seduction and love) to cross genres. It's hard to choose between Donny Hathaway's deeply soulful rendition and the direct intimacy of Willie Nelson's country-folk version. Hathaway's voice swoops and soars, demanding attention and inviting his lover to be one with him. Nelson's wistful country baritone is more of a gruff filter, tuning out the noise of the "ten thousand people watching" so that in the end there are only the two lovers. Either way, the message of "Song For You" -- that most quiet and intimate of songs -- comes through loud and clear.

LYRICS

I've been so many places in my life and time
I've sung a lot of songs, I've made some bad rhyme
I've acted out my love in stages
With ten thousand people watching
We're alone now and I'm singing this song for you

I know your image of me is what I hope to be
I've treated you unkindly but darlin' can't you see?
There's no one more important to me
Darlin' can't you please see through me?
'Cause we're alone now and I'm singing this song for you

You taught me precious secrets of the truth, withholding nothing
You were out front and I was hiding
But now I'm so much better
And if my words don't come together
Listen to the melody 'cause my love is in there hiding

I love you in a place where there is no space or time
I love you for my life 'cause you are a friend of mine
And when my life is over
Remember when we were together
We were alone and I was singing this song for you

We were alone and I was singing this song for you

A Song For You (Live @ The Troubador, Los Angeles, CA) - Donny Hathaway

I Love You More Than You`ll Ever Know

SONG: I Love You More Than You'll Ever Know

WRITTEN BY: Al Kooper

PERFORMED BY: Blood Sweat and Tears, Donny Hathaway

APPEARS ON: Child is Father to the Man, Extension of a Man


Writing for this blog has proven to be very educational. A few weeks ago I wrote a post about These Eyes by The Guess Who and how all my life I had been listening to the version of that song by Junior Walker not knowing it was a remake. Well, it just happened again with one of my favorite songs. I was coming up with the words to describe this song and I decided to look up the lyrics while I thought about it. I typed in the words “I Love you more than you’ll ever know” and waited to see Donny Hathaway’s name. I looked at the screen and was shocked to see the name Blood Sweat and Tears. I was positive Donny Hathaway wrote this song and if I went on a music trivia show I would have been eliminated on this question. It turns out I Love You More Than You’ll Ever Know was originally performed by Blood Sweat and Tears and written by Al Kooper. It was released on their debut album Child Is Father to the Man in 1968. I have to admit that the original version is very impressive for a band I never heard of. I am not sure about Al Kooper's singing but the band plays the hell out of the music.

The reason why I love the song so much is because it tells a story from the standpoint of a regular man trying to do anything he can to keep the woman he loves. Sometimes the things you do work out and sometimes they don’t but you have to try what you can to make her happy. In this modern day of rhythm and blues it seems songs get attention that go against this theory. It’s all full of fantasy and stories about trips to islands, nice cars and expensive jewelry. There are some real singers still out there but a lot of the make believe images get attention. This song represents what a man really feels inside when he loves someone with real life circumstances. I don’t want to paint all current songs with a broad brush but it’s been a long time since I heard a love song on the radio with lyrics like.

When I wasn’t making much money
You know where my paycheck went
You know I brought it home to you baby
And I never spent a red cent.

That sounds more like real life in this economy. You have to give credit to Al Kooper for coming up with the song and the lyrics but Donny Hathaway sings these lyrics with so much feeling that you can imagine him just walking in the studio without anything written down and singing this straight from his heart. I love Donny Hathaway. He had that special gift in his voice that allows you to feel every emotion of the song. Although he’s been deceased since 1979 he’s still on my concert wish list. If I had found out he went in the studio the same night his woman left to sing this song I would have believed it. Maybe that’s why so many people think he wrote it. It would have been really cool to hear him sing it with the original band because those guys can play.

Lyrics
If I ever leave you baby....you can say I told you so
And if I ever hurt you ..... you know I hurt myself as well

Is that any way for a man to carry on
Do you think I want my loved one gone
Said I love you
More than you'll ever know
More than you'll ever know

When I wasn't making much money
You know where my paycheck went
You know I brought it home to you baby
And I never spent a red cent
Heeey

Is that any way for a man to carry on
Do you think I want my loved one gone
Said I love you
More than you'll ever know
More than you'll ever know

Now listen to this
I'm not trying to be
Just any kind of man
No I ain't
I'm just trying to be somebody
You can love, trust and understand
I know, I know, I know that I can be
A part of you that no one else could see
Yeah
But I gotta hear you say
I got to hear you say
It's alright
I'm only flesh and blood
But I can be anything that you demand
I can be King of everything
Or just a tiny grain of sand
Now tell me

Is that anyway for a man to carry on
Do you think that I want my loved one gone
I love you
More than you'll ever know
I said I love you
I love you
I love you
Heeey
Don't want nobody else but you.....

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Big Star: Nighttime

SONG: Nighttime

WRITTEN BY: Alex Chilton

PERFORMED BY: Big Star

APPEARS ON: Big Star: Keep an Eye on the Sky (Rhino); Big Star’s 3rd: Sister Lovers (Rykodisc)

Today’s post is rather a shift from my usual run of blues & old-time music—it involves a song that really possessed me twenty plus years ago, & an album that seemed to open into a strange, disturbing & fascinating world. The album: Big Star’s 3rd: Sister Lovers; the song: “Nighttime.”

For those of you who don’t know, Big Star was a memphis quartet of the early to mid 1970s, fronted by Alex Chilton & Chris Bell as vocalist guitarists & with Andy Hummel on bass & Jody Stephens on drums. Chilton had already had a taste of stardom when at age 16 he & his bandmates in the Box Tops had scored a number one record with “The Letter.” The experience was not a positive one for Chilton, as it appears—at a young age he grew mistrustful of the music industry’s machinations & marketing & control over artists.

Bell & Chilton were a sort of southern underground Lennon & McCartney; as Robert Gordon writes in the book accompanying Rhino’s hot off the presses box set: “The two bandleaders complemented each other. Bell liked softer, rounder curves, & Chilton was fond of the sharp edge.” With Bell & Chilton collaborating, Big Star recorded the critically-acclaimed but commercial train wreck, #1 Record, & then with Bell mostly out of the band, they released Radio City, which was again met with critical enthusiasm & disappointing sales. In the fall of 1974, Chilton & Stephens were the only remaining band members, & they went into Ardent Studios in Memphis to work on a new project. This is what later became known as Big Star’s 3rd: Sister Lovers (so called because Chilton & Stephens were dating sisters at the time). The album was considered too dark & eccentric to find a distributor, & wasn’t released until 1978 on PVC—that version contained 14 tracks. Rykodisc later released a 19 track version in the early 90s—by this time such alt rock luminaries as R.E.M. & the Replacements were acknowledging the deep influence of Chilton & Big Star, & the band’s work finally had a defined commercial niche.

I was brought back to Big Star’s music by the (very) recent release of Rhino’s box set, Big Star: Keep an Eye on the Sky (co-produced by our friend Cheryl Pawelski, who described the project as a labor of love). For a full review of that, please check out my post today on my Robert Frost’s Banjo blog. Here, I’m focusing on the song “Nighttime.”

When I first heard the demo version of “Nighttime” on disc two of the four disc box set, I was startled to find that Chilton didn’t sing the rather disturbing fourth & fifth verses (see the lyrics below). The demo is an incredibly sweet song—anticipatory of “going out” in all senses of the phrase, & with the air of new love saturating the sound. It’s just Chilton accompanying himself on acoustic guitar. Also, tho I didn’t check this in any mechanical way, I believe the underlying tempo of the demo is slightly quicker than that of the released version.

So what happens between the demo & the release? All the sudden, this sweet love song seems to turn so very dark; in the fifth verse, Chilton sings:

Get me out of here
Get me out of here
I hate it here
Get me out of here

In many ways this twist incapsulates so much of what fascinates me about Big Star’s 3rd; there’s the sweet string-enhanced beauty of songs like “Blue Moon” & “Stroke It Noel” combined with the distorted darkness of offerings like “Holocaust” & “Kanga Roo”; there’s the hauntingly beautiful but extraordinarily depressed “Big Black Car” mixed with an upbeat rocker like “Kizza Me.”

Big Star’s 3rd always has seemed to me one of pop/rock music’s most compelling explorations of desire, with all its prismatic & contradictory aspects. The transformation of “Nighttime” from the sweet lover’s stroll of the demo to something more disturbing makes the song one that connects the album’s contradictory states—the heart in its nighttime idyll suddenly confronted by a disturbing reality—the air that had only gone “cool” at the beginning is now “freezing.” The fourth & fifth stanzas also re-shape the lovely lines:

Glanced in your eyes and fell through the skies
Dance in your eyes and fell through the skies

At the beginning of the song, this seems purely (in many senses of that word) a description of “falling” in love—after the darkness of “I hate it here/Get me out of here,” it suggests another type of descent altogether.

There is also the possibility of the song exploring the public versus the private—certainly Chilton's Box Tops' experience must have led him to be distrustful of public adulation as opposed to private passion. Is that the fall "through the skies"—a movement from public adulation to personal love? Or is it something more bleak? The album's exploration of these themes allows us to ponder this question; & as I pointed out in my Robert Frost's Banjo appreciation of the box set, the compilation really enriches our examination.

The setting of the released version is gorgeous; the slide guitar adds a sort of off-kilter lyricism that reinforces the song’s ambiguity, as does Chilton’s vocal, which grows slightly raspy & weary in the concluding lines.

Hope you enjoy the song in the clip below, & do check out Big Star: Keep an Eye on the Sky.


“Nighttime”

At nighttime I go out and see the people
Air goes cool and hurrying on my way
And dressing so sweet, all the people to see
They’re looking at me, all the people to see.

And when I set my eyes on you
You look like a kitty
And when you’re in the moon
Oh you look so pretty

Caught a glance in your eyes
And fell through the skies
Glance in your eyes
And fell through the skies

I’m walking down the freezing street
Scarf goes out behind
You said, get them away
Please don’t say another word

Get me out of here
Get me out of here
I hate it here
Get me out of here

At nighttime I go out and see the people
Air goes cool and hurrying on my way
Glanced in your eyes and fell through the skies
Dance in your eyes and fell through the skies

Long Black Veil

SONG Long Black Veil

WRITTEN BY Danny Dill and Marijohn Wilkin

PERFORMED BY Lefty Frizzell, The Band, Johnny Cash, Joan Baez, many others.

APPEARS ON 16 Biggest Hits; 1959 single (Lefty Frizzell), Music From Big Pink (The Band, 1968), At Folsom Prison (Johnny Cash, 1968), many others.

"Long Black Veil" has it all: Murder, love, death, betrayal, madness, injustice, friendship, memory, regret, doubt, grief, and excruciating choice. Written back in 1959 and originally a hit for Lefty Frizzell, "Long Black Veil" has been recorded and performed to such an extent that it has become one of the most beloved American folk songs. I'm partial to The Band's rendition, but there are many worthy performances of this classic.

The song tells the simple story of a man hanged for a crime he did not commit. He withholds his alibi to protect his best friend and his best friend's wife, with whom the man had been having an affair. Grief-stricken and guilt-addled, the wife wanders the hills in a long black veil, secretly visiting his grave "when the night winds wail." The only witness to this is, ironically, the dead man who narrates the song, the man who would not bear witness to save himself.

"Long Black Veil" is a great song -- one of the best -- that packs an intense variety of human emotion into its simple verse-chorus form, sixteen lines in all. The three verses tell the story, establishing the crime, the love triangle, and the eventual death-by-hanging of the narrator. Between each verse comes the the emotional powerhouse of a chorus:

She walks these hills in a long black veil

She visits my grave when the night winds wail

Nobody knows, nobody sees

Nobody knows but me

The chorus propels the inevitability of the narrative, inserting itself after each verse so that we know early on what has happened. As the story comes together, we wait hopefully for a reprieve while knowing full well that it won't come. Still, the force of the lyrics and tune are such that we can't help but hope, even though adultery must pay an extreme cost in the harsh universe of "Long Black Veil." In the end, all that remains are the howling, vengeful winds ripping around the grave of a lonely mad visitor.

LYRICS

Ten years ago, on a cold dark night

Someone was killed 'neath the town hall lights

There were few at the scene, but they all agreed

That the slayer who ran looked a lot like me

She walks these hills in a long black veil

She visits my grave when the night winds wail

Nobody knows, nobody sees

Nobody knows but me

The judge said, "Son, what is your alibi?

If you were somewhere else, then you won't have to die."

I spoke not a word, though it meant my life

For I'd been in the arms of my best friend's wife

She walks these hills in a long black veil

She visits my grave when the night winds wail

Nobody knows, nobody sees

Nobody knows but me

Now the scaffold is high and eternity's near

She stood in the crowd and shed not a tear

But sometimes at night when the cold wind moans

In a long black veil she cries over my bones

She walks these hills in a long black veil

She visits my grave when the night winds wail

Nobody knows, nobody sees

Nobody knows but me

Here are versions by Lefty Frizell, The Band, and Johnny Cash and Joni Mitchell, and Joan Baez, as well as link to Bob Dylan's stately rendition:

For Bob Dylan's version, click here.

Antje Duvekot: Dublin Boys

SONG Dublin Boys

WRITTEN BY Antje Duvekot

PERFORMED BY Antje Duvekot

APPEARS ON The Near Demise of the High Wire Dancer (2009); Snapshots (2008); Boys, Flowers, Miles (2005)

"Dublin Boys" is one of those sweet, buoyant songs that we never never have enough of. The premise is simple: Lost at love and homesick, the singer strikes out for greener pastures ("I gotta go where the green is/Don't wanna wait for brown") determined to "pick myself back up."

What makes "Dublin Boys" different is Duvekot's recognition that she'll fall again ("I'm gonna get back up on my horse 'til I go down") and that whatever might happen isn't entirely in her control. Hence, the telling verse

I know that things gotta change, it's what they always do

Oh, but change has never been known to wait for you

so reminiscent of John Lennon's "Life is what happens to you while you're busy making other plans." (Complete lyrics to "Beautiful Boy" here.)

But while Lennon wrote from the wry, somewhat resigned perspective of early middle age, Duvekot still has youth on her side: Perhaps that makes the thought of getting back on the horse repeatedly less daunting and more of an adventure. In any case, "Dublin Boys" serves as a wonderful reminder of the gentle bravado of youth, wherein a city with its houses burning down can still be wonderful and wherein the comforts of home are reviving enough to set one's path to the next "sweet city."

LYRICS

Sweet city of Dublin, I am heading out

'Cause all the houses on your streets are burning down

Oh, but not to worry, cause I will be okay

Yes, I will pick myself back up another day

But I am dirty from the traveling

And miss my family

So, goodbye Dublin boys, farewell

I gave you my best shot

But you could never tell

I'm gonna pack my suitcase

And sing to myself

Goodbye

I know that things gotta change, it's what they always do

Oh, but change has never been known to wait for you

I'm gonna go where the green is

Don't wanna wait for brown

I'm gonna get back on my horse 'til I go down

And you're more beautiful than ever

And it just goes to show

So, goodbye Dublin boys, farewell

I gave you my best shot

But you could never tell

I'm gonna pack my suitcase

And sing to myself

So, goodbye Dublin boys, farewell

I gave you my best shot

But you could never tell

I'm gonna pack my suitcase

And sing to myself

Goodbye, goodbye, goodbye, goodbye

So, goodbye Dublin boys, farewell

I gave you my best shot

But you could never tell

I'm gonna pack my suitcase

And sing to myself

Goodbye, goodbye, goodbye

Gregory Isaacs: Slave Master

Song: Slave Master

Written and Performed By: Gregory Isaacs

Appears on: Rockers Soundtrack

Theodoros Bafaloukos’ 1978 film “Rockers” is a genial, lighthearted Robin Hood tale about a reggae singer in Jamaica trying to make a few bucks in the music business, both by delivering records on his motorcycle and by playing in a band for a resort owner who sees his house band as nothing more than a bunch of ne’er-do-wells. As in its predecessor “The Harder They Come”, the hero (Leroy “Horsemouth” Wallace) finds that The System will do everything it can to keep him down. The two films were often shown as a double feature in the United States (my brother and I saw them in Austin).

One thing the films have in common is an outstanding soundtrack, with reggae music playing through virtually the entire movie. In “Rockers”, many reggae musicians play themselves – “Horsemouth”, Jacob Miller, Kiddus-I, Big Youth, and Gregory Isaacs, amongst others. Isaacs’ live performance of the song “Slave Master” is one of the musical highlights of the film (you can also see him cracking a safe in one scene).

Isaacs has a long, storied history in reggae and is one of the best-known singers to come out of Jamaica. He started in the late 60s and in the 70s and 80s established himself as a master of the “Lover’s Rock” style of reggae. Listen to classic albums like “Night Nurse”, “Private Beach Party”, and “Red Rose For Gregory” and you’ll know why he’s known as The Cool Ruler.

But Isaacs is no one trick pony. He can sing a sufferers’ song as well as anyone and “Slave Master” is one of his finest. It’s been said that Isaacs has released upwards of 500 albums throughout the world and “Slave Master” appears on no fewer than 35 of those, according to allmusic.com. In it, Isaacs sings of the protagonist’s increasing frustration with the slave master, a man who does little but discipline his laborers when they try to have little fun – “Every time I hear the music and I make a dip … slave master comes around and spank I with his whip”.

A casual listen might garner a “that’s nice” response, but if you really listen to it, this is an angry song. The slave has had just about enough and is very close to his breaking point:
“If I don’t get my desire
Then I'll set the plantations on fire
My temperature is getting much higher”

The singer also adds this subtle warning (it’s my favorite line in the song) “slave master, I’m the shepherd of my pasture” -- push me too far and not only will I rebel, but I will lead my fellow slaves in revolt, too.

In the film, Isaacs adds a coda that is not on the soundtrack (it’s a studio version on the soundtrack) – “if the chalice comes around my brow, I’ll surely take a sip, Jah Jah know I’m true with it, please get up with it, Jah Jah know I’m true with it.”

The chalice is a rastaman’s ganja pipe and Isaacs is willing to – and based on his smile as he sings, would like to – take a “sip” from the pipe.

Slave Master Lyrics

No competition, I make you my decision, yeah

Every time I hear the music and I make a dip, a dip
Slave master comes around and spank I with his whip, the whip
But if I don’t get my desire
Then I'll set the plantations on fire
My temperature is getting much higher
Got to get what I require

‘Cause every time we do the work sometimes we are hurt, oh yeah
Boss never do a thing but hold on to his girth
But if I don’t get my desire
Then I'll set the plantations on fire
My temperature is getting much higher
Got to get what I require

Every time I hear the music and I move my hip, my hip
Slave master comes around and spank I with his whip, a whip
Slave master, I’m the shepherd of my pasture
I say you work me to scorn so long me make me gwaan
‘cause I’m accustomed to your whip

But if I don’t get my desire
Then I'll set the stations on fire
My temperature is getting much higher
Got to get what I require

Lalah Hathaway and Joe Sample : When Your Life Was Low

SONG When Your Life Was Low

WRITTEN BY Joe Sample and Will Jennings

PERFORMED BY Lalah Hathaway and Joe Sample

APPEARS ON The Song Lives ON

Eulaulah Donyll Hathaway was born on December 16, 1968. She is the daughter of the late great Donny Hathaway. Her father is an icon and one of my all time favorites. While he experienced commercial success during his career, Lalah hasn’t really gotten the wide exposure from any of her recordings. That’s unfortunate because I think she’s an underrated talent. She sings one of my favorite songs. It comes from the jazz album she recorded with Joe Sample titled The Song Lives On. The name of the song is ‘When Your Life is Low’ and I have been singing it to myself all week. I was surprise to see this song only made it to #118 on the R&B charts. Unlike some of the other songs I have written about in this blog I don’t have any personal reference to go with this one. I just think it’s a great song and I love the story. It’s a song about a person that was down and out who found shelter in the singer until their life was together again. Once things were well again and the person was back on top they changed and went back to their other life. The song starts with a piano lead in by Joe Sample and Lalah starts with the cautionary lyrics.

Always remember my friend,
the world will change again.
And you may have to come back
through everywhere you've been.

Since the first time I heard it I have been trying to determine if this song was a love song or not. It is but not in the sense of a love story between a man and a woman. It’s more of a tale that could happen between two people in any type of relationship. There is no guarantee that the people in your life that you need will be the same people that you desire to be around. Sometimes when you care about someone and they come to you in a troubled time, you have to do what you can for them with the understanding that once they are back together again they may be gone. Strange as it sounds, the comfort comes from knowing that you did the right thing for them. People make this deal with themselves all the time. At the same time if you have a person in your life that will take you in no matter how bad you screw things up, you should always give that person special recognition and hold them in high esteem. The worst thing you could do is take that person for granted. Just like the songs says, if things go wrong you may have to come back and those welcoming arms may not be there the next time. Even if all that analysis means nothing to you still check out the song because Lalah Hathaway is awesome. She's beautiful too.

Lyrics

Always remember my friend,
the world will change again.
And you may have to come back
through everywhere you've been.

When your life was low,
you had nowhere to go.
People turned their backs on you,
and everybody said that you were through.

I took you in, made you strong again
put you back together.
Out of all the dreams you left along the way,
you left me shining.

Now you're doing well
from stories I hear tell.
You own the world again.
Everyone's your friend.

Although I never hear from you,
still it's nice to know
you used to love me so,
when your life was low.

I took you in. I made you strong again.
I put you back together.
Out of all the dreams you left along the way,
you left me shining

Now you're doing well
from stories I hear tell.
You own the world again.
Everyone's your friend.

Although I never hear from you,
still it's nice to know
you used to love me so,
you used to love me so,
when your life was low.

But always remember my friend,
the world will change again.
And you may have to come back
through everywhere you've been.
The world will change again.

Paul Simon: American Tune

SONG American Tune

SONGWRITER Paul Simon

PERFORMED BY Paul Simon

APPEARS ON There Goes Rhymin' Simon (1973), others

NOTE "American Tune" is essential to any Paul Simon collection. Anthologies without it should be avoided.

Back in 1973, when Paul Simon recorded "American Tune", Americans had much to worry about. The country remained bogged down in Vietnam while the body politic had become caught up in the throes of Watergate. Moreover, for idealists, the Sixties had ended in a wave of assassinations and violence culminating at Altamont. No wonder, then, that Simon pondered in "American Tune" that

I don't know a dream that's not been shattered

Or driven to its knees

He even speculated that the country had seen its best days:

But it's all right, it's all right

For we lived so well so long

Still, when I think of the road we're traveling on

I wonder what's gone wrong

But "American Tune" is not a memorable song because of its roots in a particular time and place: It remains a great song today because Simon successfully explores the gap between promise and reality, and he does it in a particularly skillful manner.

Listen to the song as alternating statements, in which the first and third verses represent the voice of the country itself; the second verse, Simon's personal testimony, and the final verse as the collective voice of an American choir. Thus, the song opens with the country feeling "forsaken", "misused", and "weary." The separation of America from its own ideals have left it feeling "far away from home."

Simon then interjects the personal observations about battered souls and general unease, wondering whether it might indeed be all over. America returns in the third verse looking down on itself, at first reassured by its "soul" but ultimately worried that its finest ideals have departed unfulfilled:

And high up above my eyes could clearly see

The Statue of Liberty

Sailing away to sea

Finally comes the closing statement, first invoking the power and successes of the American Dream:

We come on the ship they called the Mayflower

We come on the ship that sailed the moon

We come in the age's most uncertain hour

And sing an American tune

From the Mayflower to landing on the moon, America has served as a guiding light for the world, but if we don't remain vigilant, well...

You can't be forever blessed

Thus, "American Tune" serves as a cautionary statement about the dangers of straying too far from founding ideals. It's there -- not a refusal to play realpolitik or approve of the use of torture or tap phones -- lies the true danger to the republic. Perhaps the election of Barack Obama last fall was a public recognition of this. I don't want to place too much importance on a single event, but it may well have signaled a sea change that the country will no longer be run by the same coterie of the privileged. That kind of change is uplifting to some, frightening to others. But it may yet portend that our best days may not lie behind us.

LYRICS

Many's the time I've been mistaken

And many times confused

Yes, and I've often felt forsaken

And certainly misused

But I'm all right, I'm all right

I'm just weary to my bones

Still, you don't expect to be bright and bon vivant

So far away from home, so far away from home

And I don't know a soul who's not been battered

I don't have a friend who feels at ease

I don't know a dream that's not been shattered

Or driven to its knees

But it's all right, it's all right

For we lived so well so long

Still, when I think of the road we're traveling on

I wonder what's gone wrong

I can't help it, I wonder what's gone wrong

And I dreamed I was dying

I dreamed that my soul rose unexpectedly

And looking back down at me

Smiled reassuringly

And I dreamed I was flying

And high up above my eyes could clearly see

The Statue of Liberty

Sailing away to sea

And I dreamed I was crying

We come on the ship they called the Mayflower

We come on the ship that sailed the moon

We come in the age's most uncertain hour

And sing an American tune

Oh and it's all right, it's all right, it's all right

You can't be forever blessed

Still tomorrow's going to be another working day

And I'm trying to get some rest

That's all, I'm trying to get some rest

(Includes brief conversation with Dick Cavett after the song.)



New Orleans' John Boutte -- accompanied by Paul Sanchez on guitar -- performs a staggeringly beautiful version:

Stevie Wonder : I Wish

SONG I Wish

WRITTEN BY Stevie Wonder

PERFORMED BY Stevie Wonder
APPEARS ON Songs In The Key Of Life (1976)


I have a really good friend that has walked through some rough times with me over the last few years. In terms of education and career she's a very successful person but every now and then when the grind gets too hectic and the personal life doesn't always match the professional success. That's when she will call me up and ask the question "Don't you wish you could go back to being ten years old again?" Then she will go into a fifteen minute story about playing double dutch with her sisters or something like that. I just listen because I know what she is trying to do. Last night I was watching a football game and trying to get myself to a point of relaxation. I looked at that game and thought about when I was a little boy every week during football season me and my dad would have a contest picking the winners of the NFL games. He would always let me pick first and I would still lose because I refused to pick any teams that I didn't like. I remember when our family vehicle was a blue Dodge pickup and every day after school we would ride to pick up my mom. I and my brothers and sisters would sit on this white tool box that went across the back of it. It used to feel like we were sitting so high we could look down at everything in the world. It was like riding on an amusement park ride every day and it was always fun even when the truck broke down. That's why when I am having a rough day and need to get my mind in the right place I drive home on Galvez St. just to get the memory of that raggedy truck heading down to the Ninth Ward. If my daughter was big enough to drive now I would let her so I could sit in the back of my truck and look down at everything in the world.

We live in a society that is focused on progression and moving forward. There is nothing wrong with that but sometimes we lose sight of the things that built the foundation to give us the drive to get up every day and do what we do. Stevie Wonder recorded a song that speaks to days like this called I Wish from the Songs in the Key of Life album. It hasn't been that long since I covered another song and discuss the greatness of this album. I wasn't planning on doing this one now but it fits my current state of mind and kind of popped into my head. Even though it was recorded in 1976, it still speaks clearly to my experiences growing up. I am 35 now and my generation was probably the last kids that had a great childhood. At least that's what I like to think. Kids today have the Internet, and video games that let them play with their friends without even getting off the sofa. When I was a kid and the weather was good you had to go outside.Our mom's would make us go. These days kids can tell their parents what they want for Christmas and know its coming. I'm from the old school when you got what they could afford.

Even without a lot of money growing up on the avenue was a pretty carefree time. All we did was play ball, shoot marbles, make skate mobiles and watch wrestling on Saturday. I have come to realize now my parents were struggling sometimes to make ends meet but that was never my burden as a kid and it shouldn't be. We just had fun. Even with the fun growing up in the inner city isn't a fairytale. There is no such thing as a guarantee you won't come across a few kids that don't have the same home situation as you. Back then it really didn't matter. Everybody just grew up together. There was one or two little boys that your mama forbids you to play with because she knew their people were trouble. There were lot of days spent getting in trouble for this. I don't know if Stevie ever really went through this but his description of it was perfect.

sneaking out the back door
To hang out with those hoodlum friends of mine
Greeted at the back door
With boy thought I told you not to go outside,
Trying your best to bring the
Water to your eyes
Thinking it might stop her
From woopin your behind

Life moves fast and before you know it there are careers to develop, kids to raise, bills to pay, older loved ones to take care of, falling in love as well as heartbreak to endure. In the natural progression of things you can't really avoid most of these moments. I think what Stevie was trying to say in this song is that it is alright to look back and reminisce every now and then. It helps balance some of the stress of the present. Hopefully when my children get older and the responsibilities of adulthood get heavy they will have enough memories to help get them through it. Maybe 20 years from now someone will be listening to this song or one like it and remember all the fun things they did in their childhood. That's the thought that keeps me going when I want throw my hand in.

Lyrics:

Looking back on when I
Was a little nappy headed boy
Then my only worry
Was for Christmas what would be my toy
Even though we sometimes
Would not get a thing
We were happy with the
Joy the day would bring

Sneaking out the back door
To hang out with those hoodlum friends of mine
Greeted at the back door
With boy thought I told you not to go outside
Tryin' your best to bring the
Water to your eyes
Thinkin' it might stop her
Grom woopin' your behind

I wish those days could come back once more
Why did those days ev-er have to go
I wish those days could come back once more
Why did those days ev-er have to go
Cause I love them so

Brother says he's tellin'
'Bout you playin' doctor with that girl
Just don't tell I'll give you
Anything you want in this whole wide world
Mama gives you money for Sunday school
You trade yours for candy after church is through

Smokin' cigarettes and writing something nasty on the wall (you nasty boy)
Teacher sends you to the principal's office down the wall
You grow up and learn that kinda thing ain't right
But while you were doin'it-it sure felt outta sight

I wish those days could come back once more
Why did those days ev-er have to go
I wish those days could come back once more
Why did those days ev-er have to go

Death Don’t Have No Mercy – Reverend Gary Davis

SONG: Death Don’t Have No Mercy

WRITTEN BY: Traditional; arranged by Reverend Gary Davis

PERFORMED BY: Reverend Gary Davis (et al., including the Grateful Dead, Dave Van Ronk & Bob Dylan)

APPEARS ON: Reverend Gary Davis: Harlem Street Singer; Live at Newport; Heroes of the Blues - The Very Best of Reverend Gary Davis (Shout Factory)

A while back I posted one of my wife Eberle Umbach’s essays on my blog, Robert Frosts Banjo; the essay's one of a ongoing series by her & her writing partner Audrey Bilger that we’ve called Women’s Art is Women’s Work. This particular essay had the picturesque title, “My Juggy My Puggy My Honey My Bunny,” & discussed euphemism in the19th century, particularly as this related to various sexual “unmentionables.” In the course of the essay, Eberle discussed how 19th century folk, while apt to euphemize sex, had far fewer taboos about death than we do; various memento mori, many of which we’d find shocking, were commonplace. These days, especially in the United States, people try to cast a blind eye toward death—our parents & grandparents are taken to various “homes” to pass their final days, & the whole process is—in theory—as sanitary as possible.

The song “Death Don’t Have No Mercy” comes from an earlier world—in this view, Death is a real entity—akin to the personified Death of Medieval artwork. He has human characteristics—he’s “always in a hurry,” “never takes a vacation,” & so forth. In addition, Death doesn’t come to the nursing home or the hospital—“ He’ll come to your house & he won’t stay long.”

There’s a great starkness to this song, & Reverend Gary Davis’ powerful vocal adds a great urgency & immediacy to the desolately realistic lyrics—because for all the personification, the song is presenting the uncomfortable & undeniable truth that death comes to all, in its own time.

Of course, the Reverend Gary Davis was a master guitarist, a true virtuoso in the Piedmont blues fingerpicking style, which stresses syncopation &, with its alternating bass & index finger, actually hearkens back to some early banjo playing styles. That mastery is on display on all his recordings of “Death Don’t Have No Mercy”—to him, the solos were the guitar’s "talk" (Davis favored a jumbo guitar, which he called Miss Gibson in a nod to the manufacturer). Having said that, it’s worth noting that Davis never dazzles simply for dazzles sake—his solos on “Death Don’t Have No Mercy” carry the song forward, & partake of the overall air of starkness & immediacy.

If I might be excused to make this song “topical” for a moment, I wonder sometimes if our culture weren’t so determined to make death & illness invisible if we’d have so much consternation about health care reform. Is the scenario of “I’ve got mine, & let the other guy fend for himself” in part a product of a peculiar U.S. obsession with eternal youth & a somewhat Darwinian disdain for the sick & disabled? Is it really so shortsighted as “That won’t happen to me”? The Reverend says it will—he says it pretty strong.

The lyrics are transcribed from the version on Harlem Street Singer; the vidclip is from one of the 1960s Newport Folk Festivals—the lyrics vary a bit, but not in any really material ways.

I find this one of the most moving pieces of music I know; hope it has some meaning for you as well.


Death Don’t Have No Mercy

Death don't have no mercy in this land
Death don't have no mercy in this land
He’ll come to your house & he won’t stay long
You look in the bed, & somebody will be gone
Death don't have no mercy in this land

Death will go in any family in this land
Death will go in every family in this land
Well he’ll come to your house & he won’t stay long
Look in the bed & one of the family will be gone
Death will go in any family in this land

Well he never takes no vacation in this land
Old Death don't take no vacation in this land
Come to your house, & he won stay long
Look in the bed & your mother will be gone
Death don't take no vacation in this land

Well he’ll leave you standing and crying in this land
Death will leave you standing and crying in this land
He comes into your house and he won't stay long
You look in the bed, & somebody will be gone
Death will leave you standing and crying in this land

Death is always in a hurry in this land
Death is always in a hurry in this land
Come to your house, & he won't stay long
Look in the bed & your mother will be gone
Death is always in a hurry in this land

Well, he won’t give you time to get ready in this land
Well, he won’t give you time to get ready in this land
Come to your house, & he won't stay long
You look in the bed, & somebody will be gone
Death won’t give you time to get ready in this land