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Bob Dylan: Blonde on Blonde

 A l b u m   D e t a i l s

Artist: Bob Dylan
Title: Blonde on Blonde
Released: 1966.05.16
Label: Columbia Records
Time: 71:40
Producer(s): Bob Johnston
Appears with:
Category: Pop/Rock
Rating: *******... (7/10)
Media type: CD
Purchase date:  2001.09.10
Price in €: 9,99
Web address: www.bobdylan.com

 S o n g s ,   T r a c k s


[1] Rainy Day Women #12 and 35 (B.Dylan) - 4:33
[2] Pledging My Time (B.Dylan) - 3:42
[3] Visions of Johanna (B.Dylan) - 7:27
[4] One of Us Must Know [Sooner or Later] (B.Dylan) - 4:53
[5] I Want You (B.Dylan) - 3:06
[6] Stuck Inside of Mobile With the Memphis Blues Again (B.Dylan) - 7:04
[7] Leopard-Skin Pill-Box Hat (B.Dylan) - 3:50
[8] Just Like a Woman (B.Dylan) - 4:39
[9] Most Likely You Go Your Way and I'll Go Mine (B.Dylan) - 3:22
[10] Temporary Like Achilles (B.Dylan) - 5:03
[11] Absolutely Sweet Marie (B.Dylan) - 4:46
[12] 4th Time Around (B.Dylan) - 4:26
[13] Obviously 5 Believers (B.Dylan) - 3:30
[14] Sad Eyed Lady of the Lowlands (B.Dylan) - 11:19

 A r t i s t s ,   P e r s o n n e l


BOB DYLAN - Guitar, Harmonica, Piano, Keyboards, Vocals

CHARLIE MCCOY - Bass, Guitar, Harmonica, Trumpet
AL KOOPER - Organ, Guitar, Horn, Keyboards
ROBBIE ROBERTSON - Guitar, Vocals
JOE SOUTH - Guitar
RICK DANKO - Bass, Violin, Vocals
BILL ATKINS - Keyboards
WAYNE BUTLER - Trombone
KENNETH A. BUTTREY - Drums
PAUL GRIFFIN - Piano
GARTH HUDSON - Keyboards, Saxophone
JERRY KENNEDY - Guitar
SANFORD KONIKOFF - Drums
RICHARD MANUEL - Drums, Keyboards, Vocals
WAYNE MOSS - Guitar, Vocals
HARGUS "Pig" ROBBINS - Piano, Keyboards
HENRY STRZELECKI - Bass
BILL AIKINS - Vocals
JAIME ROBERTSON - Vocals

AMY HEROT - Reissue Producer
MARK WILDER - Remixing, Remastering
JOSEPHINE DIDONATO - Design

 C o m m e n t s ,   N o t e s


1966 LP Columbia 281
1966 LP Columbia C2L-41
1995 CD Columbia 7467-644411-2
1995 CD Columbia CK-53016 (MASTER)
1992 CD Columbia 53016
1994 CD Columbia 64411
1999 SCD Columbia 841
2000 CS Columbia CGT-841
2000 CD Columbia CGK-841

Recorded at Columbia Recording Studios, Nashville, Tennessee



If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock and folk into a wild, careening and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal and witty wordplay, not only on the rockers but also on winding, moving ballads like "Visions of Johanna," "Just Like a Woman," and "Sad Eyed Lady of the Lowlands." Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos and even woozy brass bands ("Rainy Day Women #12 & 35"). It's the culmination of Dylan's electric rock & roll period — he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.

Stephen Thomas Erlewine
All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



Considered an unprecedented magnum opus when it arrived on two records in May of 1966 (1997's Time out of Mind is actually only about a minute shorter), Blonde on Blonde featured Dylan continuing to demonstrate remarkable powers over the course of 14 new numbers. Working in Nashville with session men and a few conscripted recruits (Al Kooper, Robbie Robertson), Dylan continued to bend minds with his warped lyrics and phrasing. Even dashed-off numbers such as "Obviously 5 Believers" and "Rainy Day Women #12 & 35" contribute to the crazed, fun-house ambiance. Dylan will never be this wild again.

Steven Stolder, Amazon.com



Blonde on Blonde, jene Doppel-LP, die bei ihrem Erscheinen im Mai 1966 als ein bislang nicht dagewesenes Riesen-Opus betrachtet wurde (Time Out of Mind aus dem Jahre 1997 ist nur etwa eine Minute kürzer), zeigt einen Bob Dylan, der über 14 neue Stücke hinweg eine durchweg beträchtliche Leistung abliefert. Mit seinen hintergründigen Wortspielereien, die er in Nashville mit seinen Sessionleuten und ein paar angeheuerten Externen (Al Kooper, Robbie Robertson) aufnahm, ließ Dylan auch hier die Köpfe rauchen. Selbst so beiläufig heruntergeschriebene Stücke wie "Obviously 5 Believers" und "Rainy Day Women #12 & 35" tragen zu dieser lockeren, verrückten Atmosphäre bei. Dylan wird nie wieder so ausgelassen sein.

Steven Stolder, Amazon.de



Die einstige Doppel-LP des begnadeten Barden von 1966 ist ein Rock-Meilenstein, gespickt mit Klassikern wie Just Like A Woman,Visions Of Johanna und I Want You. Was diese Mastersound-Picture-CD dank Super Bit Mapping und Goldauflage an Klangzugewinn gegenüber dem Original rausholt, ist weit mehr als spektakulär: der goldene Wahnsinn!

© Audio



Bob Dylans Meisterwerk "Blonde On Blonde" liegt derzeit in der vierten Digitalfassung als "Nice Price"-CD vor. Mit der Gold-CD handelt man sich eine abrupte Ausblendung von "Sad Eyek Lady Of The Lowlands" ein, aber auch eine klar bessere Überspielung von "Leopard-Skin Pill-Box Hat" - sonst nichts.

© Stereoplay



...easily Dylan's most melodically honed albums....an insane rush of ideas carried by what he'd later call 'that thin, wild mercury sound'....Tunes, tunes, tunes....Dylan the tunesmith never had better days than these.

Q Magazine (1/00, p.136) - 5 stars out of 5



Ranked #17 in NME's list of the "Greatest Albums Of All Time.

New Musical Express (10/2/93, p.29)



In a 1965 press conference, Bob Dylan defined folk music as a "constitutional replay of mass production." It was a simple quip, saturated with character strains that are markedly Dylan: Evasive, sarcastic, playful, jesting, scathing, meandering, and lyrical. Just the pastiche of elements that suffuse like dendrites from the heart of rock’s first double album: Blonde on Blonde. Released in May 1966, Blonde on Blonde is a vibrant tapestry woven from the composite threads of Bringing It All Back Home and Highway 61 Revisited. In a sense, this album is the crowning achievement of post-Newport Dylan, and a living testament to the fact that, clearly, Dylan would be governed by only his own whims. Gone were the purist demeanor, working-class raiment and political consciousness of the Tin Pan Alley icon. It was a transformation marked by showers of boos and hisses from his staunchest devotees, yet the leather-clad minstrel held fast the looking glass that guided the subjective journey and yielded a harvest of the most prolific and evocative poetry ever to complement music. And so the anthology begins like a lunatic parade with the oft-misinterpreted "Rainy Day Women Nos. 12 and 35," the reputed "drug song" with the refrain "everybody must get stoned." This humorous cut is recorded in the same vein as the bluesy "Leopard-Skin Pill-Box Hat," and seems to say: We all get dragged through the mud from time to time, but it’s comforting to know you are not "all alone." Other tracks that received considerable airplay include "I Want You" and, more notably, "Just Like a Woman." The latter - apparently written about model Edie Sedgwick of the Warhol camp - sparked a rash of feminist criticism about its heroine who fakes, makes love and aches like a woman, but "breaks just like a little girl." On a more somber, romantic note are the Nashville stringed "4th Time Around" and the epic finale, "Sad Eyed Lady of the Lowlands," a song clearly penned for Sara Lowndes, whom Dylan had married in a secret ceremony some six months prior to the release of Blonde On Blonde. And certainly, no discussion or review of this album would be complete without mentioning "Visions of Johanna" or the warbling absurdity of "Stuck Inside of Mobile with the Memphis Blues Again." In fact, "Visions of Johanna" falls just several yards shy of thematically representing the entire album, with its free form, mosaic of emotions and cynicism in the face of love. This lyric tale poses the existential choice between the ever-ready Louise and the archetypal Johanna - which he aspires to for fulfillment, although in the end, these visions are "all that remain." Blonde on Blonde is not only a landmark Dylan album, but a landmark of 20th Century pop music. Almost all 14 takes were recorded in Nashville - a far cry from Dylan’s cozy Greenwich Village Bohemia - with a supporting cast that included the likes of Charlie McCoy, Al Kooper, Rick Danko and Robbie Robertson, whose incendiary blues licks provide perfect accompaniment to Dylan’s weightier folk-rock sound. It’s been almost 34 years to the day since this album streeted, leaving an indelible mark on the way we approach the written word in music. Alas, its true depth may never be plumbed, but hopefully will be duplicated. Just some things to consider, along with that obvious void in your CD rack.

Brian Kelly - May 2, 2000
Product and services specialist for CDNOW's Customer Service Department.
Copyright © 1994-2001 CDnow Online, Inc. All rights reserved.


The world tour of 1965 - 1966 spelled heavy pressure: Three, sometimes four concerts a week; listeners hungering for a new album; acolytes awaiting new direction; businessmen demanding more product, more profit. From autumn through spring, as he careened around the States, Dylan continued to write new songs. During a concert break, he scribbled an idea in his dressing room. While The Band slept on the tour's chartered Lockheed Lodestar, Dylan worked past the midnight hours on a new melody. In the back of a car, While others made small talk, Dylan saw visions beyond the passing landscape. In smoky motel rooms, he squeezed out a riff a phrase from his guitar. "Sometimes I'll be able ro hear the melody and everything right in my head," he said in 1985. Although Blonde On Blonde was not released until May 1966, its material had been evolving for more than a year.

Robert Shelton's No Direction Home.
 

 L y r i c s


RAINY DAY WOMAN # 12 & 35

(Recorded live on Before The Flood - Unplugged)

Well, they'll stone ya when you're trying to be so good
They'll stone ya just a-like they said they would
They'll stone ya when you're tryin' to go home
Then they'll stone ya when you're there all alone
But I would not feel so all alone
Everybody must get stoned.

Well, they'll stone ya when you're walkin' 'long the street
They'll stone ya when you're tryin' to keep your seat
They'll stone ya when you're walkin' on the floor
They'll stone ya when you're walkin' to the door
But I would not feel so all alone
Everybody must get stoned.

They'll stone ya when you're at the breakfast table
They'll stone ya when you are young and able
They'll stone ya when you're tryin' to make a buck
They'll stone ya and then they'll say "good luck"
Tell ya what, I would not feel so all alone
Everybody must get stoned.

Well, They'll stone you and say that it's the end
Then they'll stone you and then they'll come back again
They'll stone you when you're riding in your car
They'll stone you when you're playing your guitar
Yes, but I would not feel so all alone
Everybody must get stoned.

Well, they'll stone you when you walk all alone
They'll stone you when you are walking home
They'll stone you and then say you are brave
They'll stone you when you are set down in your grave
But I would not feel so all alone
Everybody must get stoned.


PLEDGING MY TIME

Well, early in the morning
'Til late at night
I got a poison headache
But I feel all right
I'm pledging my time to you
Hopin' you'll come through too.

Well, the hobo got you high
He came to me natur'ly
After he stole my baby
Then he wanted to steal me
But I'm pledging my time to you
Hopin' you'll come through too.

Won't you come with me baby ?
I'll take you where you wanna go
And if I don't work out
You'll be the first to know
I'm pledging my time to you
Hopin' you'll come through too.

Well, the room is so stuffy
I can hardly breathe
Ev'rybody's gone but me and you
And I can't be the last to leave
I'm pledging my time to you
Hopin' you'll come through too.

Well, they sent for the ambulance
And one was sent
Somebody got lucky
But it was an accident
Now, I'm pledging my time to you
Hopin' you'll come through too.


VISIONS OF JOHANNA

Ain't it just like the night to play tricks when you're tryin' to be so quiet ?
We sit here stranded, though we're all doin our best to deny it
And Louise holds a handfull of rain, tempting you to defy it
Lights flicker from the opposite loft
In this room the heat pipes just cough
The country music station plays soft
But there's nothing really nothing to turn of
Just Louise and her lover so entwined
And these visions of Johanna that conquer my mind.

In the empty lot where the ladies play blindman's bluff with the key chain
And the all-night girls they whisper of escapades out on the D-train
We can hear the night watcman click his flashlight
Ask himself if it's him or them that's really insane
Louise she's all right she's just near
She's delicate and seems like the mirror
But she just makes it all too concise and too clear
That Johanna's not here
The ghost of electricity howls in the bones of her face
Where these visions of Johanna have now taken my place.

Now, little boy lost, he takes himself so seriously
He brags of his misery, he likes to live dangerously
And when bringing her name up
He speaks of a farewell kiss to me
He's sure got a lotta gall to be so useless and all
Muttering small talk at the wall while I'm in the hall
Oh, how can I explain ?
It's so hard to get on
And these visions of Johanna they kept me up past the dawn.

Inside the museums, Infinity goes up on trial
Voices echo this is what salvation must be like after a while
But Mona Lisa musta had the highway blues
You can tell by the way she smiles
See the primitive wallflower freeze
When the jelly-faced women all sneeze
Hear the one with the mustache say, "Jeeze
I can't find my knees"
Oh, jewels and binoculars hang from the head of the mule
But these visions of Johanna, they make it all seem so cruel.

The peddler now speaks to the countess who's pretending to care for him
Saying, "Name me someone that's not a parasite and I'll go out and say a prayer for him"
But like Louise always says
"Ya can't look at much, can ya man "

As she, herself prepares for him
And Madonna, she still has not showed
We see this empty cage now corrode
Where her cape of the stage once had flowed
The fiddler, he now steps to the road
He writes ev'rything's been returned which was owed
On the back of the fish truck that loads
While my conscience explodes
The harmonicas play the skeleton keys and the rain
And these visions of Johanna are now all that remain.


ONE OF US MUST KNOW (SOONER OR LATER)

I didn't mean to treat you so bad
You shouldn't take it so personal
I didn't mean to make you so sad
You just happened to be there, that's all
When I saw you say goodbye to your friends and smile
I thought that it was well understood
That you'd be comin' back in a little while
I didn't know that you were sayin' goodbye for good.

But sooner or later one of us must know
But you just did what you're supposed to do
Sooner or later one of us must know
That I really did try to get close to you.

I couldn't see what you could show me
Your scarf had kept your mouth well hid
I couldn't see how you could know me
But you said you knew me and I believed you did
When you whispered in my ear
And asked me if I was leavin' with you or her
I didn't realize just what I did hear
I didn't realize how young you were.

But sooner or later one of us must know
But you just doing what you're supposed to do
Sooner or later one of us must know
That I really did try to get close to you.

I couldn't see when it started snowin'
Your voice was all that I heard
I couldn't see where we were goin'
But you said you knew and I took your word
And then you told me later as I apologized
That you were just kiddin' me, you weren't really from the farm
And I told you, as you clawed out my eyes
That I never really meant to do you any harm.

But sooner or later one of us must know
But you just did what you're supposed to do
Sooner or later one of us must know
That I really did try to get close to you.


I WANT YOU

The guilty undertaker sighs
The lonesome organ grinder cries
The silver saxophones say I should refuse you
The cracked bells and washed-out horns
Blow into my face with scorn
But it's not that way
I wasn't born to lose you
I want you, I want you
I want you so bad
Honey, I want you.

The drunken politician leaps
Upon the street where mothers weep
And the saviors who are fast asleep
They wait for you
And I wait for them to interrupt
Me drinkin' from my broken cup
And ask for me
Open up the gate for you
I want you, I want you
Yes, I want you so bad
Honey, I want you.

Now all my fathers they've gone down
True love they've been without it
But all their daughters put me down
'Cause I don't think about it.

Well, I return to the Queen of Spades
And talk with my chambermaid
She knows that I'm not afraid
To look at her
She is good to me
And there's nothing she doesn't see
She knows where I'd like to be
But it doesn't matter
I want you, I want you
Yes, I want you so bad
Honey, I want you.

Now your dancing child with his Chinese suit
He spoke to me, I took his flute
No, I wasn't very cute to him - Was I ?
But I did though because he lied
Because he took you for a ride
And because time was on his side
And because I ..
I want you, I want you
Yes, I want you so bad
Honey, I want you.


STUCK INSIDE OF MOBILE WITH THE MEMPHIS BLUES AGAIN

Oh, the ragman draws circles
Up and down the block
I'd ask him what the matter was
But I know that he don't talk
And the ladies treat me kindly
And furnish me with tape
But deep inside my heart
I know I can't escape
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.

Well Shakespeare he's in the alley
With his pointed shoes and his bells
Speaking to some French girl
Who says she knows me well
And I would send a message
To find out if she's talked
But the post office has been stolen
And the mailbox is locked
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.

Mona tried to tell me
To stay away from the train line
She said that all the railroad men
Just drink up your blood like wine
And I said "Oh I didn't know that
But then again there's only one I've met
And he just smoked my eyelids
And punched my cigarette"
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.
Grandpa died last week
And now he's buried in the rocks
But everybody still talks about
How badly they were shocked
But me, I expected it to happen
I knew he'd lost control
When he built a fire on Main Street
And shot it full of holes
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.

Now the senator came down here
Showing ev'ryone his gun
Handing out free tickets
To the wedding of his son
And me, I nearly get bursted
And wouldn't it be my luck
To get caught without a ticket
And be discovered beneath a truck
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.

Now the preacher looked so baffled
When I asked him why he dressed
With twenty pounds of headlines
Stapled to his chest
But he cursed me when I proved it to him
Then I whispered, "Not even you can hide
You see, you're just like me
I hope you're satisfied"
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.
Now the rainman gave me two cures
Then he said, "Jump right in"
The one was Texas medicine
The other was just railroad gin
And like a fool I mixed them
And it strangled up my mind
And now, people just get uglier
And I have no sense of time
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.

When Ruthie says come see her
In her honky-tonk lagoon
Where I can watch her waltz for free
'Neath her Panamanian moon
And I say, "Aw come on now
You know you know about my debutante"
And she says, "Your debutante just knows what you need
But I know what you want"
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again.

Now the bricks lay on Grand Street
Where the neon madmen climb
They all fall there so perfectly
It all seems so well timed
And here I sit so patiently
Waiting to find out what price
You have to pay to get out of
Going through all these things twice
Oh, Mama, is this really the end
To be stuck inside of Mobile
With the Memphis blues again.


LEOPARD-SKIN PILL-BOX HAT

Well, I see you got your brand new leopard-skin pill-box hat
Yes, I see you got your brand new leopard-skin pill-box hat
Well, you must tell me, baby
How your head feels under somethin' like that
Under your brand new leopard-skin pill-box hat.

Well, you look so pretty in it
Honey, can I jump on it sometime ?
Yes, I just wanna see
If it's really that expensive kind
You know it balances on your head
Just like a mattress balances
On a bottle of wine
Your brand new leopard-skin pill-box hat.

Well, if you wanna see the sun rise
Honey, I know where
We'll go out and see it sometime
We'll both just sit there and stare
Me with my belt
Wrapped around my head
And you just sittin' there
In you brand new leopard-skin pill-box hat.

Well, I asked the doctor if I could see you
It's bad for your health, he said
Yes, I disobeyed his orders
I came to see you
But I found him there instead
You know, I don't mind him cheatin' on me
But I sure wish he'd take that off his head
Your brand new leopard-skin pill-box hat.

Well, I see you got a new boyfriend
You know, I never seen him before
Well, I saw him
Makin' love to you
You forgot to close the garage door
You might think he loves you for your money
But I know what he really loves you for
It's your brand new leopard-skin pill-box hat.


JUST LIKE A WOMAN

(Recorded live on At Budokan - Dylan & Dead)

Nobody feels any pain
Tonight as I stand inside the rain
Ev'rybody knows
That Baby's got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls
She takes just like a woman, yes she does
She makes love just like a woman, yes she does
And she aches just like a woman
But she breaks just like a little girl.

Queen Mary, she's my friend
Yes, I believe I'll go see her again
Nobody has to guess
That Baby can't be blessed
Till she finally sees that she's like all the rest
With her fog, her amphetamine and her pearls
She takes just like a woman, yes she does
She makes love just like a woman, yes she does
And she aches just like a woman
But she breaks just like a little girl.

It's was raining from the first
And I was dying there of thirst
So I came in here
And your long-time curse hurts
But what's worse
Is this pain in here
I can't stay in here
Ain't it clear that.

I just can't fit
Yes, I believe it's time for us to quit
When we meet again
Introduced as friends
Please don't let on that you knew me when
I was hungry and it was your world
Ah, you fake just like a woman, yes you do
You make love just like a woman, yes you do
Then you ache just like a woman
But you break just like a little girl.


MOST LIKELY YOU GO YOUR WAY AND I'LL GO MINE

You say you love me
And you're thinkin' of me,
But you know you could be wrong.
You say you told me
That you wanna hold me,
But you know you're not that strong.
I just can't do what I done before,
I just can't beg you any more.
I'm gonna let you pass
And I'll go last.
Then time will tell just who fell
And who's been left behind,
When you go your way and I go mine.

You say you disturb me
And you don't deserve me,
But you know sometimes you lie.
You say you're shakin'
And you're always achin',
But you know how hard you try.
Sometimes it gets so hard to care,
It can't be this way ev'rywhere.
And I'm gonna let you pass,
Yes, and I'll go last.
Then time will tell just who fell
And who's been left behind,
When you go your way and I go mine.

The judge, he holds a grudge,
He's gonna call on you.
But he's badly built
And he walks on stilts,
Watch out he don't fall on you.

You say you're sorry
For tellin' stories
That you know I believe are true.
You say ya got some
Other kinda lover
And yes, I believe you do.
You say my kisses are not like his,
But this time I'm not gonna tell you why that is.
I'm just gonna let you pass,
Yes, and I'll go last.
Then time will tell who fell
And who's been left behind,
When you go your way and I go mine.


TEMPORARY LIKE ACHILLES

Standing on your window, honey,
Yes, I've been here before.
Feeling so harmless,
I'm looking at your second door.
How come you don't send me no regards?
You know I want your lovin',
Honey, why are you so hard?

Kneeling 'neath your ceiling,
Yes, I guess I'll be here for a while.
I'm tryin' to read your portrait, but,
I'm helpless, like a rich man's child.
How come you send someone out to have me barred?
You know I want your lovin',
Honey, why are you so hard?

Like a poor fool in his prime,
Yes, I know you can hear me walk,
But is your heart made out of stone, or is it lime,
Or is it just solid rock?

Well, I rush into your hallway,
Lean against your velvet door.
I watch upon your scorpion
Who crawls across your circus floor.
Just what do you think you have to guard?
You know I want your lovin',
Honey, but you're so hard.

Achilles is in your alleyway,
He don't want me here,
He does brag.
He's pointing to the sky
And he's hungry, like a man in drag.
How come you get someone like him to be your guard?
You know I want your lovin',
Honey, but you're so hard.


ABSOLUTELY SWEET MARIE

Well, your railroad gate, you know I just can't jump it
Sometimes it gets so hard, you see
I'm just sitting here beating on my trumpet
With all these promises you left for me
But where are you tonight, sweet Marie?

Well, I waited for you when I was half sick
Yes, I waited for you when you hated me
Well, I waited for you inside of the frozen traffic
When you knew I had some other place to be
Now, where are you tonight, sweet Marie?

Well, anybody can be just like me, obviously
But then, now again, not too many can be like you, fortunately.

Well, six white horses that you did promise
Were fin'lly delivered down to the penitentiary
But to live outside the law, you must be honest
I know you always say that you agree
But where are you tonight, sweet Marie?

Well, I don't know how it happened
But the river-boat captain, he knows my fate
But ev'rybody else, even yourself
They're just gonna have to wait.

Well, I got the fever down in my pockets
The Persian drunkard, he follows me
Yes, I can take him to your house but I can't unlock it
You see, you forgot to leave me with the key
Oh, where are you tonight, sweet Marie?

Now, I been in jail when all my mail showed
That a man can't give his address out to bad company
And now I stand here lookin' at your yellow railroad
In the ruins of your balcony
Wond'ring where you are tonight, sweet Marie.


4TH TIME AROUND

When she said,
"Don't waste your words, they're just lies,"
I cried she was deaf.
And she worked on my face until breaking my eyes,
Then said, "What else you got left?"
It was then that I got up to leave
But she said, "Don't forget,
Everybody must give something back
For something they get."

I stood there and hummed,
I tapped on her drum and asked her how come.
And she buttoned her boot,
And straightened her suit,
Then she said, "Don't get cute."
So I forced my hands in my pockets
And felt with my thumbs,
And gallantly handed her
My very last piece of gum.

She threw me outside,
I stood in the dirt where ev'ryone walked.
And after finding I'd
Forgotten my shirt,
I went back and knocked.
I waited in the hallway, she went to get it,
And I tried to make sense
Out of that picture of you in your wheelchair
That leaned up against . . .

Her Jamaican rum
And when she did come, I asked her for some.
She said, "No, dear."
I said, "Your words aren't clear,
You'd better spit out your gum."
She screamed till her face got so red
Then she fell on the floor,
And I covered her up and then
Thought I'd go look through her drawer.

And, when I was through
I filled up my shoe
And brought it to you.
And you, you took me in,
You loved me then
You didn't waste time.
And I, I never took much,
I never asked for your crutch.
Now don't ask for mine.


OBVIOUSLY FIVE BELIEVERS

Early in the mornin'
Early in the mornin'
I'm callin' you to
I'm callin' you to
Please come home
Yes, I guess I could make it without you
If I just didn't feel so all alone

Don't let me down
Don't let me down
I won't let you down
I won't let you down
No I won't
You know I can if you can, honey
But, honey, please don't

I got my black dog barkin'
Black dog barkin'
Yes it is now
Yes it is now
Outside my yard
Yes, I could tell you what he means
If I just didn't have to try so hard

Your mama's workin'
Your mama's moanin'
She's cryin' you know
She's tryin' you know
You better go now
Well, I'd tell you what she wants
But I just don't know how

Fifteen jugglers
Fifteen jugglers
Five believers
Five believers
All dressed like men
Tell yo' mama not to worry because
They're just my friends

Early in the mornin'
Early in the mornin'
I'm callin' you to
I'm callin' you to
Please come home
Yes, I could make it without you
If I just didn't feel so all alone


SAD-EYED LADY OF THE LOWLANDS

With your mercury mouth in the missionary times,
And your eyes like smoke and your prayers like rhymes,
And your silver cross, and your voice like chimes,
Oh, who among them do they think could bury you?
With your pockets well protected at last,
And your streetcar visions which you place on the grass,
And your flesh like silk, and your face like glass,
Who among them do they think could carry you?
Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

With your sheets like metal and your belt like lace,
And your deck of cards missing the jack and the ace,
And your basement clothes and your hollow face,
Who among them can think he could outguess you?
With your silhouette when the sunlight dims
Into your eyes where the moonlight swims,
And your match-book songs and your gypsy hymns,
Who among them would try to impress you?
Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

The kings of Tyrus with their convict list
Are waiting in line for their geranium kiss,
And you wouldn't know it would happen like this,
But who among them really wants just to kiss you?
With your childhood flames on your midnight rug,
And your Spanish manners and your mother's drugs,
And your cowboy mouth and your curfew plugs,
Who among them do you think could resist you?
Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

Oh, the farmers and the businessmen, they all did decide
To show you the dead angels that they used to hide.
But why did they pick you to sympathize with their side?
Oh, how could they ever mistake you?
They wished you'd accepted the blame for the farm,
But with the sea at your feet and the phony false alarm,
And with the child of a hoodlum wrapped up in your arms,
How could they ever, ever persuade you?
Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

With your sheet-metal memory of Cannery Row,
And your magazine-husband who one day just had to go,
And your gentleness now, which you just can't help but show,
Who among them do you think would employ you?
Now you stand with your thief, you're on his parole
With your holy medallion which your fingertips fold,
And your saintlike face and your ghostlike soul,
Oh, who among them do you think could destroy you
Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

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