This song is really cute.
Jackson was one of those songs I sort of “discovered” out of the blue (”discovered” meaning that someone gave me a CD and I hadn’t heard this one before). I love the feeling of banter between the two singers, and at the same time the lack of animosity. He’s a little full of himself, she doesn’t quite believe that he can realize his dreams–it just seems so realistic.
Here’s a link to a live performance (likely the Grand Ol’ Opry)
And of course, the lyrics:
We got married in a fever, hotter than a pepper sprout,
We’ve been talkin’ ’bout Jackson, ever since the fire went out.
I’m goin’ to Jackson, I’m gonna mess around,
Yeah, I’m goin’ to Jackson,
Look out Jackson town.
Well, go on down to Jackson; go ahead and wreck your health.
Go play your hand you big-talkin’ man, make a big fool of yourself,
Yeah, go to Jackson; go comb your hair!
Honey, I’m gonna snowball Jackson.
See if I care.
When I breeze into that city, people gonna stoop and bow. (Hah!)
All them women gonna make me, teach ‘em what they don’t know how,
I’m goin’ to Jackson, you turn-a loose-a my coat.
‘Cos I’m goin’ to Jackson.
“Goodbye,” that’s all she wrote.
But they’ll laugh at you in Jackson, and I’ll be dancin’ on a Pony Keg.
They’ll lead you ’round town like a scalded hound,
With your tail tucked between your legs,
Yeah, go to Jackson, you big-talkin’ man.
And I’ll be waitin’ in Jackson, behind my Jaypan Fan,
Well now, we got married in a fever, hotter than a pepper Sprout,
We’ve been talkin’ ’bout Jackson, ever since the fire went.
I’m goin’ to Jackson, and that’s a fact.
Yeah, we’re goin’ to Jackson, ain’t never comin’ back.
Well, we got married in a fever, hotter than a pepper sprout’
And we’ve been talkin’ ’bout Jackson, ever since the fire went…
Indoor Fireworks is a great traditional country song. Heartfelt, but smart lyrics, excellent, sweetly sad vocals–it’s the whole package. From Setting the Woods on Fire:
…This should be no surprise, as Elvis was conscioulsy trying to write a Hank Williams song. Interviewed for the book Written In My Soul (by Bill Flanagan, 1986), Elvis humorously explained his goal in writing Indoor Fireworks:
“I tried to write one that had some chill in it. Like ‘May You Never Be Alone’ [by Hank Williams]. I was aiming up there. Whereas when I wrote ‘The Only Flame In Town’ I was only trying to write like Allen Toussaint. I was thinking, “How tough does Hank Williams ever get?” He didn’t ever shy away from the matter. If you’re going to be true to yourself you’ve got to say, “Could I say it as cold as Hank Williams did?” You have to keep reminding yourself how strong the really strong songs are.”
I think that’s very interesting, and I also think Indoor Fireworks is one of Elvis’s best country songs.
Here’s a link to a performance of the song with Lucinda Williams
And of course, the lyrics:
We play these parlour games
We play at make believe
When we get to the part where I say that I’m going to leave
Everybody loves a happy ending but we don’t even try
We go straight past pretending
To the part where everybody loves to cry
(chorus)
Indoor fireworks
Can still burn your fingers
Indoor fireworks
We swore we were safe as houses
They’re not so spectacular
They don’t burn up in the sky
But they can dazzle or delight
Or bring a tear
When the smoke gets in your eyes
You were the spice of life
The gin in my vermouth
And though the sparks would fly
I thought our love was fireproof
Sometimes we’d fight in public darling
With very little cause
But different kinds of sparks would fly
When we got on our own behind closed doors
(chorus)
It’s time to tell the truth
These things have to be faced
My fuse is burning out
And all that powder’s gone to waste
Don’t think for a moment dear that we’ll ever be through
I’ll build a bonfire of my dreams
And burn a broken effigy of me and you
(chorus)
This is such a peppy song, I love it. Of course, the subject matter isn’t quite so peppy, but it’s not exactly evil either. A much better than average song about a fickle woman walking all over the hearts of the men she bewitches, it’s still a fun song with some great lyrics (EC=great lyrics? Who knew?).
It is most assuredly a fun song. The jaunty bass line plays against the eager strummed guitar, and Costello’s vocals harry and hector the song along through several key changes, and it’s just a fun song to listen to.
You can listen to the song below:
And of course, the lyrics:
(chorus)
It’s going round the town
It’s going round the town
It’s going round the town
You’re so lovable
My baby gave me notice to quit
I just can’t get used to it
She broke my little heart in two
Now somebody else is being the same old you
(chorus
My baby has Egyptian eyes
And a wicked look beyond compare
If you thought I was a fool for you
Then I must be a bigger fool for her
(chorus)
He’d turn the flowers of springtime into a wreath
He says he’d love you eternally
I say please please can’t you keep it brief
They say they’re going to bury you
Because you’re so lovable
Put your money where your mouth was
You’re so lovable
Each tender mumble brings us closer to bedlam
You’re so lovable
The toast of the town and the talk of the bedroom
You’re so lovable
You’re so sweet
You’re so honest
You say `I’ll be true to you boy’
But I won’t promise
Then you say you love me
Then you show me
As you lie there so lifelike below me
(chorus)
Delia’s Gone is in many ways a typical Johnny Cash song, full of black humor and regret. In the hands of another singer, this song could be absolutely brutally painful, or woefully plastic. In Cash’s capable hands, it’s a masterpiece.
Johnny Cash brings a grim tongue in cheek quality to this song, in many ways a counterpoint to Robert Johnson’s 32-20 Blues. However, he manages to avoid the manic insanity of Johnson’s tune, with a little more regret and a little more anger. In many ways, he makes this song about killing someone more or less palatable.
And of course, the lyrics:
Delia, oh, Delia Delia all my life
If I hadn’t have shot poor
Delia I’d have had her for my wife
Delia’s gone, one more round Delia’s gone
I went up to Memphis
And I met Delia there Found her in her parlor
And I tied to her chair
Delia’s gone, one more round Delia’s gone
She was low down and trifling
And she was cold and mean
Kind of evil make me want to Grab my sub machine
Delia’s gone, one more round Delia’s gone
First time I shot her I shot her in the side
Hard to watch her suffer
But with the second shot she died
Delia’s gone, one more round Delia’s gone
But jailer, oh, jailer Jailer,
I can’t sleep ‘Cause all around my bedside
I hear the patter of Delia’s feet
Delia’s gone, one more round Delia’s gone
So if you woman’s devilish
You can let her run
Or you can bring her down and do her
Like Delia got done
Delia’s gone, one more round Delia’s gone
This song is a mutherfuckin’ jam. Period. Not much else to say, really.
The song itself is about a woman deciding to have a night on the town either after having dumped her boyfriend/husband or while simply feeling stuck in a rut, and the overall feeling of the song is total liberation. It’s energetic and fun.
What really makes the song work, however, is the music and arrangements. Each instrument (banjo, mandolin, electric and acoustic guitar, bass, drums and fiddle) has a moment to shine and keep the song careening towards an inevitable explosion of sound. Just a great song.
Here’s a link to a live performance
And of course, the lyrics:
He pushed me ’round
Now I’m drawin’ the line
He lived his life
Now I’m gonna go live mine
I’m sick of wastin’ my time
Well now I’ve been good for way too long
Found my red dress and I’m gonna throw it on
‘Bout to get too far gone
Praise the Lord and pass the ammunition
Need a little BIT more of my TWELVE ounce nutrition
One more helpin’ of what I’ve been havin’
I’m takin’ my turn on the sin wagon
On a mission to make something happen
Feel like Delilah lookin’ for Samson
Do a little mattress dancin’
That’s right I said mattress dancin’
Praise the Lord and pass the ammunition
Need a little bit more
Of what I’ve been missin’
I don’t know where I’ll be crashin’
But I’m arrivin’ on a sin wagon
When it’s my turn to march up to glory
I’m gonna have one hell of a story
That’s if he forgives me
Oh lord please forgive me
Praise the Lord and pass the ammunition
Need a little bit more of that sweet salvation
They may take me
with my feet draggin’
I’ll fly away on a sin wagon
I’ll fly away on a sin wagon
Country Death Song may not be the darkest song ever written, but it’s certainly one of them. According to Wikipedia:
“Country Death Song,” for example, was based a true story from an 1862 news article about a man who intentionally threw his daughter into a well and then hung himself in his barn. It was written by Gano during his 10th grade study hall.
It’s quite interesting that this is based on a true story–presuming that Wikipedia is accurate. If so, Gordan Gano did a fabulous job of getting inside of the head of the murderer, making his craziness sound almost plausible.
The song itself is extremely well arranged. The stark sounding bass, the simple snare drum, and the sparse finger-picked guitar give the song a spacy, hollow feeling. However, what really makes it work is the banjo. Al Barger had this to say:
But this recording has a critical additional instrument: banjo. The more I listen to it, the more interesting Tony Trischka’s playing here becomes. The point of the song emotionally is despair, not typically an emotional territory associated with banjo playing. Indeed, Steve Martin got one of his funnier stand-up routines out of how nearly impossible it is to play sad songs on this happy instrument.
I agree completely: the banjo gives the song a certain flavor and feeling used as a counterpoint to the other instruments. Additionally, Gano’s plaintive vocals really put things in perspective.
Here’s a link to a tribute video
And of course, the lyrics:
I had me a wife, I had me some daughters.
I tried so hard, I never knew still waters.
Nothing to eat and nothing to drink.
Nothing for a man to do but sit around and think.
Nothing for a man to do but sit around and think.
Well, I’m a thinkin’ and thinkin’, till there’s nothin’ I ain’t thunk.
Breathing in the stink, till finally I stunk.
It was at that time, I swear I lost my mind.
I started making plans to kill my own kind.
I started making plans to kill my own kind.
Come little daughter,” I said to the youngest one,
Put your coat on, we’ll have some fun.
We’ll go out to mountains, the one to explore.
Her face then lit up, I was standing by the door.
Her face then lit up, I was standing by the door.
Come little daughter, I will carry the lanterns.
We’ll go out tonight, we’ll go to the caverns.
We’ll go out tonight, we’ll go to the caves.
Kiss your mother goodnight and remember that God saves.
Kiss your mother goodnight and remember that God saves.
A led her to a hole, a deep black well.
I said “make a wish, make sure and not tell and
close you’re eyes dear, and count to seven.
You know your papa loves you, good children go to heaven.
You know your papa loves you, good children go to heaven.
I gave her a push, I gave her a shove.
I pushed with all my might, I pushed with all my love.
I through my child into a bottomless pit.
She was screaming as she fell, but I never heard her hit.
She was screaming as she fell, but I never heard her hit.
Gather round boys to this tale that I tell.
You wanna know how to take a short trip to hell?
It’s guarenteed to get your own place in hell.
Just take your lovely daughter and push her in the well.
Take your lovely daughter and throw her in the well.
Don’t speak to me of lovers, with a broken heart.
You wanna know what can really tear you apart?
I’m going out to the barn, will I never stop in pain?
I’m going out to the barn, to hang myself in shame.
Yes, I konw there’s no actual band called the Soggy Bottom Boys, but it is the best known version of this song. It’s a very nice song as well–the harmonies and the guitar really make it all work.
From Wikipedia:
“Man of Constant Sorrow” is a traditional American folk song first performed by Dick Burnett, a partially blind fiddler from Kentucky. The song was originally recorded by Burnett as “Farewell Song” printed in a Richard Burnett songbook, c. 1913. An early version was recorded by Emry Arthur in 1928 (Vocalion Vo 5208).
And of course, the lyrics:
(chorus) In constant sorrow through his days
I am a man of constant sorrow
I’ve seen trouble all my day.
I bid farewell to old Kentucky
The place where I was born and raised.
(chorus) The place where he was born and raised
For six long years I’ve been in trouble
No pleasures here on earth I found
For in this world I’m bound to ramble
I have no friends to help me now.
(chorus) He has no friends to help him now
It’s fare thee well my old lover
I never expect to see you again
For I’m bound to ride that northern railroad
Perhaps I’ll die upon this train.
(chorus) Perhaps he’ll die upon this train.
You can bury me in some deep valley
For many years where I may lay
Then you may learn to love another
While I am sleeping in my grave.
(chorus) While he is sleeping in his grave.
Maybe your friends think I’m just a stranger
My face you’ll never see no more.
But there is one promise that is given
I’ll meet you on God’s golden shore.
(chorus) He’ll meet you on God’s golden shore
One of the best singers of sad songs ever, Hank Williams did a fabulous job with this song, about a man tortured by his love for a woman that is cheating on him. Hank’s voice is what really sells You Win Again, as you can hear the regret dripping on each note.
And of course, the lyrics:
The news is out all over town
That you’ve been seen a-runnin’ ’round
I know that I should leave, but then
I just can’t go - you win again
This heart of mine could never see
What ev’rybody knew but me
Just trusting you was my great sin
What can I do - you win again
I’m sorry for your victim now
‘Cause soon his head like mine will bow
He’ll give his heart but all in vain
And someday say - you win again
You have no heart you have no shame
You take true love and give the blame
I guess that I should not complain
I love you still - you win again
Why Don’t You Love Me (Like You Used To Do)? is one of those songs that pretty much anyone can relate to. A simple tale of love gone wrong–the type that Hank Williams did so well–it’s also got a good beat and you can dance to it.
There’s a cute video someone did using footage from the Our Gang comedies
And of course, the lyrics:
Well,Why Don’t You Love Me like you used to do
How come you treat me like a worn out shoe
My hair’s still curly and my eyes are still blue
Why Don’t You Love Me Like You Used To Do.
Ain’t had no lovin’ like a huggin’ and a kissin’
in a long, long while
We don’t get nearer or further or closer
than a country mile;
Why don’t you spark me like you used to do
And say sweet nothin’s like you used to coo
I’m the same old trouble that you’ve always been through
So, Why Don’t You Love Me like you used to do.
Well, why don’t you be just like you used to be
How come you find so many faults with me
Somebody’s changed so let me give you a clue
Why Don’t You Love Me like you used to do.
Ain’t had no lovin’ like a huggin’ and a kissin’
in a long, long while
We don’t get nearer or further or closer
than a country mile;
Why don’t you say the things you used to say
What makes you treat me like a piece of clay
My hair’s still curly and my eyes are still blue
Why Don’t You Love Me like you used to do.
I like this song because it’s so upbeat, and I guess that’s really all I have to say about it. It’s got a great beat, and it’s just fun. I think it may be about asking someone to dance, but whatever it’s about, I like it.
And of course, the lyrics:
Oh, Oh, baby you can walk, you can talk just like me.
You can walk, you can talk just like me.
You can look, tell me what you see.
You can look, you won’t see nothing like me
if you look around the world.
Oh, baby you can walk, you can talk just like me.
With a little practice, you can walk, you can talk just like me.
If that’s what you wanna do.
Well, you can look, you’ll walk in circles around me.
But first, I’ll walk in circles ’round you.
But first, I’ll walk around the world.
I’m walking ’round the world, here we go
I … you can.
Walk a little, I’ll walk in circles around you
But first, show me what you do.