The late Eva Cassidy is one of my favourite female singers and has featured here prominently. There are few other voices I have heard that sound as pure and angelic as hers. It’s a real pity Eva didn’t see musical success or fame during her lifetime, as she tragically passed away at just 33 from melanoma. She was largely unknown outside her native Washington, D.C., even though she was already a remarkable singer.
The phrase “what might have been” is often overused, but in Eva Cassidy’s case it feels entirely justified. It is hard not to wonder how large her place in contemporary music history might have been had she lived longer. When her music was released more widely after her death, it received an overwhelming response and was widely talked about around the world. Her songs began appearing in films and received significant radio play.
Many of Eva’s best-known songs are covers, and that’s the case with her version of True Colors, originally by Cyndi Lauper. It’s the second Cyndi Lauper song to appear here from Eva after her live rendition of Time After Time. Other recordings by her which I adore are Over the Rainbow, Songbird (Fleetwood Mac), and Kathy’s Song (Paul Simon). True Colors is also a live recording, released on the album American Tune in 2003, seven years after her death.
Wikipedia: American Tune is an album of rehearsal tapes and live recordings. It was her second album of mainly live material and her third posthumous album. American Tune spent five weeks on the U.S. Billboard Top 200, and was a UK number one album.
[Verse 1] You with the sad eyes Don’t be discouraged Though I realize It’s hard to take courage In a world full of people You can lose sight of it all And the darkness there inside you Makes you feel so small
[Chorus] But I see your true colors Shining through See your true colors That’s why I love you So don’t be afraid to let them show Your true colors True colors are beautiful Like a rainbow
[Verse 2] Show me a smile then And don’t be unhappy Can’t remember when I last saw you laughing If this world makes you crazy And you’ve taken all you can bear You call me up Because you know I’ll be there
[Interlude] Can’t remember when I last saw you laugh
[Refrain] If this world makes you crazy You’ve taken all you can bear You call me up Because you know I’ll be there
The Offspring in April 2025 From left to right: Brandon Pertzborn, Todd Morse, Dexter Holland, Jonah Nimoy, and Noodles (Wikipedia)
This American punk rock song The Kids Aren’t Alright by The Offspring hits all the right buttons for me – from the shredding guitar to Dexter Holland’s urgent vocals and that breakneck, driving rhythm. The music video matches the frenzy of the song and the stark reality of its images, adding to its poignant message.
Everything has turned quite desolate for his generation and local community, as the hopes and dreams of youth have faded and become worn down much like the neighbourhood itself, cracked and torn. Dexter Holland wrote the song after visiting his hometown of Garden Grove and discovering that many of his old acquaintances had faced serious problems.
We all start off our lives with aims, but things can easily get in the way. The song tells the story of several people and the problems they faced growing up, including unplanned pregnancy, unemployment, drug addiction, and suicide. It paints a bleak picture where hope has been worn away by poor choices, and it also serves as a warning that life doesn’t give handouts.
Although the subject matter is bleak, there is still some light in how the song confronts these realities. It bursts with energy and defiance (as is the nature of punk), and it seems to push the idea that people can still pick themselves up and move forward. It also serves as a warning to young people to stay strong and remain on the right path, and to be vigilant so they don’t fall by the wayside. There are always dangers lurking in the background.
Mostly from Wikipedia:
The Kids Aren’t Alright was released on the band’s fifth studio album, Americana. It is the fifth track and was released as the third single. It became a top 10 hit on the US Modern Rock Tracks chart.
During their long career, The Offspring have released multiple studio albums and sold over 40 million records, making them one of the best-selling punk rock bands. They are often credited, alongside bands like Green Day, NOFX, Bad Religion, Rancid, and Pennywise, with helping revive mainstream interest in punk rock in the mid-1990s.
As you can see by the photo above, they are still going strong. At the time of writing this, they have upcoming shows in places including Daytona Speedway, California and Germany.
When we were young the future was so bright The old neighborhood was so alive And every kid on the whole damn street Was gonna make it big and not be beat
Now the neighborhood’s cracked and torn The kids are grown up but their lives are worn How can one little street Swallow so many lives
Chances blown Nothing’s free Longing for, used to be Still it’s hard Hard to see Fragile lives, shattered dreams
Jamie had a chance, well she really did Instead she dropped out and had a couple of kids Mark still lives at home cause he’s got no job He just plays guitar and smokes a lot of pot
Jay committed suicide Brandon OD’d and died What the hell is going on The cruelest dream, reality
I couldn’t wait any longer to present today’s featured ‘El Saber’ (Eng: Knowing) by Gaby Moreno. I find it such a profound and enlightening song. I discovered her a few months ago on the film & arts channel performing at The Troubadour, and I featured her wonderful live performance of Solid Ground.
The Guatemalan singer wrote today’s song El Saber for the Mexican movie Radical. The film portrays what citizens experience at a peak moment of the “war on drugs,” and Eugenio Derbez brings to life a teacher who does everything he can to help his students learn. Gaby fuses elements of folk, soul and blues in El Saber to create an atmosphere that complements the film’s story.
Gaby Moreno moved to Los Angeles in her late teens to pursue music and has built a career blending blues, jazz, soul and Latin influences, often singing in both English and Spanish. She has won a Grammy Award for Best Latin Pop Album and two Latin Grammy Awards. Gaby also made her Broadway debut in March 2026 as Persephone in Hadestown.
I have presented two versions of El Saber below. The first is the version from her album Dusk, and the second is from the film Radical.
I hope you enjoy El Saber.
[Verso 1] Como llama que agita el viento / Like a flame stirred by the wind Es la arena que va subiendo / It’s the rising sand La dolencia que cura el tiempo / The ailment that time heals Y el saber (Saber), saber (Saber), saber (Saber), saber / And knowing (Knowing), knowing (Knowing), knowing (Knowing), knowing Que el sol saldrá al amanecer / That the sun will rise at dawn
[Verso 2] Como el ángel del destino / Like the angel of destiny Pone piedras en el camino / He places stones in the path Es mi voz, mi luz, mi latido / It’s my voice, my light, my heartbeat Y el saber (Saber), saber (Saber), saber (Saber), saber / And knowing (Knowing), knowing (Knowing), knowing (Knowing), knowing Que el sol saldrá al amanecer / That the sun will rise at dawn
[Coro] La risa quе endulza la vida / The laughter that sweetens life La lucha que abrazo cada nuevo día / The struggle I embrace each new day Todas еsas perlas están escondidas / All those pearls are hidden En la penumbra seguirán / They will remain in the shadows La-la-la-la
[Puente] Vamos empujando contra la corriente / We keep pushing against the current Por mares y ríos, que olas revienten / Through seas and rivers, let the waves crash Un fuerte estallido de fe es suficiente / A powerful burst of faith is enough ¿Qué rumbo tendrá? / What course will it take?
[Interludio] La-la-la-la (La-la-la-la) La-la-la-la (La-la-la-la) La-la ¿Qué rumbo tendrá? / What course will it take? La-la-la-la
[Outro] La luz nos mira serena / The light gazes at us serenely Inquieta al despertar / Restless upon waking Un canto que vive y resuena / A song that lives and resonates Y el saber (Saber), saber (Saber), saber (Saber), saber / And knowing (Knowing), knowing (Knowing), knowing (Knowing), knowing Que el sol saldrá al amanecer / That the sun will rise at dawn Saber, saber, saber, saber / To know, to know, to know, to know Que el sol saldrá al amanecer / That the sun will rise at dawn
Tweeter and the Monkey Man” was really [written by] Tom Petty and Bob [Dylan]. Well, Jeff [Lynne] and I were there too, but they were just sitting there around in the kitchen, and he was for some reason talking about all this stuff that didn’t make much sense, you know, and we got a tape cassette and put it on and then transcribed everything they were saying.
In yesterday’s article, I mentioned all songs bar one would be presented here from Born in the U.S.A.. The exact same goes for this supergroup wonder record – Traveling Wilburys Vol. 1 – such is my fascination with it. Very few records have I covered as extensively as those two, so you could say they are amongst my top ever records. Not just that, but there is a very close Bruce Springsteen connection with today’s featured song, which we will discuss below.
‘Tweeter and the Monkey Man‘ is a special entry since it marks the last song from the record to be presented here. It is a roots rock / heartland rock song that feels part film noir, part road movie. The music has a steady, stomping rhythm and clean rhythm strumming. It sounds earthy and kind of unpolished, mirroring the song’s grittiness and street-story vibe. It also unfolds linearly, almost like a newspaper report. Each chorus contains a cymbal crash after they sing “and the walls came down,” representing the impending fate of these nefarious characters.
Although Harrison said it was cowritten between Dylan and Petty, the lyrics do seem distinctly Dylan-esque in tone and context. The video almost confirms it here at 6:19 in the video. Nearly the whole song entails the story of two drug traffickers who are on the run – one who appears to be a transexual named ‘Tweeter’ and the other a criminal Monkey Man. An unrelenting undercover cop is in hot pursuit who is the brother of a lady named Jan who is having an affair with the Monkey Man and is the female fatale in the story.
The setting is a gritty urban tale with the characters high-tailing it for New Jersey. It appears to contain heavy nods to Bruce Springsteen’s storytelling style, especially in Jungleland. ‘Magic Rat and ‘Barefoot Girl’ feel like cousins to ‘Tweeter’, ‘the Monkey Man’, and ‘Jan’. Also there are many Springsteen song title references include: ‘Stolen Car’, ‘Mansion on the Hill’, ‘Thunder Road”, ‘State Trooper’, ‘Factory’, and ‘The River’.
[Verse 1] Tweeter and the Monkey Man were hard up for cash They stayed up all night selling cocaine and hash To an undercover cop who had a sister named Jan For reasons unexplained, she loved the Monkey Man Tweeter was a boy scout ‘fore she went to Vietnam And found out the hard way nobody gives a damn They knew that they’d find freedom just across the Jersey Line So they hopped into a stolen car, took Highway 99
[Chorus] And the walls came down, all the way to hell Never saw them when they’re standing, never saw them when they fell
[Verse 2] The undercover cop never liked the Monkey Man Even back in childhood, he wanted to see him in the can Jan got married at fourteen to a racketeer named Bill She made secret calls to the Monkey Man from a mansion on the hill It was out on Thunder Road, Tweeter at the wheel They crashed into paradise, they could hear them tires squeal The undercover cop pulled up and said “Everyone of you’s a liar If you don’t surrender now, it’s gonna go down to the wire”
[Verse 3] An ambulance rolled up, a state trooper close behind Tweeter took his gun away and messed up his mind The undercover cop was left tied up to a tree Near the souvenir stand by the old abandoned factory Next day, the undercover cop was hot in pursuit He was taking the whole thing personal, he didn’t care about the loot Jan had told him many times “It was you to me who taught In Jersey, anything’s legal as long as you don’t get caught”
[Verse 4] Someplace by Rahway Prison, they ran out of gas The undercover cop had cornered ’em, said, “Boy, you didn’t think that this could last” Jan jumped up out of bed, said, “There’s someplace I gotta go” She took a gun out of the drawer and said, “It’s best if you don’t know” The undercover cop was found face-down in a field The Monkey Man was on the river bridge using Tweeter as a shield Jan said to the Monkey Man, “I’m not fooled by Tweeter’s curl I knew him long before he ever became a Jersey girl”
[Verse 5] Now the town of Jersey City is quieting down again I’m sitting in a gambling club called A Lion’s Den The TV set was blown up, every bit of it is gone Ever since the nightly news show that the Monkey Man was on I guess I’ll go to Florida and get myself some sun There ain’t no more opportunity here, everything been done Sometimes I think of Tweeter, sometimes I think of Jan Sometimes I don’t think about nothing but the Monkey Man
I have Bobby Jean in my project more for what it holds on a sentimental level now. I still like to hear it on occasion, but my fondness for it isn’t what it once was. Bruce was easily the most popular music artist among our small league of friends at high school, and one of the very few whose music had a big impact on my adolescence.
I’d consider Bobby Jean a lower-tier Born in the U.S.A. (BITUSA) track – but as we know, a lower-tier BITUSA song is better than 95% of the stuff out there. The album had seven Top 10 singles, for heaven’s sake. Where would you rank it on the record? Every song bar one will be presented here from the album (a great majority already have). If you can guess which one I left off, you get a virtual high-five and on the flip-side.
Although not released as a single, Bobby Jean reached number 36 on the Billboard Mainstream Rock chart. I always thought it was one of the most personal songs on the album, and that it was about a girl the narrator had missed – hence, “I miss you, baby / Good luck, goodbye, Bobby Jean.”
But many suggest (as in the articles below) that it’s actually a tribute from Bruce Springsteen to his long-time friend Steven Van Zandt. How “baby” comes into the mix – I have no idea. Wikipedia notes that when the song is played live, close-ups of Van Zandt are often shown on the big screens. Also, the song is one of Springsteen’s more popular concert staples, with well over 700 performances through 2024.
Van Zandt and Springsteen met in 1966; he played in Bruce’s early bands Steel Mill and the Bruce Springsteen Band. He officially joined the E Street Band on the 1975 Born to Run tour. Van Zandt would leave the E Street Band in 1984 to work on solo material. Springsteen later disbanded the E Street Band in 1989 after recording Tunnel of Love largely on his own. They came back in 1999 for the Reunion tour.
Springsteen biographer Dave Marsh suggests that Springsteen was not just singing a farewell to Van Zandt, but also to his own Nebraska-era self. To me, that does seem a bit of a stretch.
[Verse 1] Well, I came by your house the other day Your mother said you went away She said there was nothing that I could have done There was nothing nobody could say Now, me and you, we’ve known each other Yeah, ever since we were sixteen I wished I would have known, I wished I could have called you Just to say “Goodbye, Bobby Jean”
[Verse 2] Now, you hung with me when all the others Turned away, turned up their nose We liked the same music, we liked the same bands We liked the same clothes Yeah, we told each other that we were the wildest The wildest things we’d ever seen Now I wish you would have told me, I wish I could have talked to you Just to say “Goodbye, Bobby Jean”
[Bridge] Now, we went walking in the rain Talking about the pain from the world we hid Now, there ain’t nobody, nowhere, nohow Gonna ever understand me the way you did
[Verse 3] Well, maybe you’ll be out there on that road somewhere In some bus or train traveling along In some motel room there’ll be a radio playing And you’ll hear me sing this song Well, if you do, you’ll know I’m thinking of you And all the miles in between And I’m just calling one last time, not to change your mind But just to say “I miss you, baby Good luck, goodbye, Bobby Jean”
There are few rousing rockers where I’ve heard John Lennon sound so unleashed. On Dizzy Miss Lizzy, he taps back into early rock ’n’ roll and really flexes his vocal muscles, almost shredding them in the process. So raw, man.
John decided to bring back a couple of songs The Beatles had played in their Cavern and Hamburg days but hadn’t touched in years. As it happened, the session fell on Larry Williams’s birthday, so they recorded both Bad Boy and Dizzy Miss Lizzy.
You can also hear clear similarities to Little Richard’s 1958 single Good Golly, Miss Molly.
Dizzy Miss Lizzy was written and recorded by Larry Williams in 1958. It’s well worth checking out the original – it’s a doozy too. Although now seen as a genuine rock ’n’ roll classic, it only had modest chart success, peaking at No. 69.
Dizzy Miss Lizzy is one of two non-Beatles songs on their 1965 album Help!. The other is Ringo Starr’s country-leaning Act Naturally. When sequencing the album, they didn’t want to close with Yesterday, so they finished side two with this full-throttle rocker.
For a more detailed breakdown of the song, I point you to the marvellous “everything you wanted to know” article over at Beatles Music History.
[Verse 1] You make me dizzy, Miss Lizzy The way you rock and roll You make me dizzy, Miss Lizzy When you do the stroll Come on, Miss Lizzy Love me before I grow too old
[Verse 2] Come on, give me fever Put your little hand in mine You make me dizzy, dizzy Lizzy Oh, girl, you look so fine Just a-rocking and a-rolling Girl, I said I wish you were mine
[Verse 3] You make me dizzy, Miss Lizzy When you call my name Ooh, baby Say you’re driving me insane C’mon, c’mon, c’mon, c’mon, baby I want to be your loving man
[Verse 4] Run and tell your mama I want you to be my bride Run and tell your brother Baby, don’t run and hide You make me dizzy, Miss Lizzy Girl, I want to marry you
The most adorable voice I’ve heard in country music is back once again with a beautiful ballad called Dimming of the Day. The song was written by the English singer-songwriter Richard Thompson and first recorded with his then-wife Linda Thompson on their 1975 album Pour Down Like Silver.
Alison Krauss & Union Station released their version of Dimming of the Day on their 2011 album Paper Airplane. The English folk and Celtic vibes are strong here, not only in the lyrics – where love and nature are closely tied – but also in the melody. It’s a song about love, longing, and quiet dependence, with a narrator who feels fragile and worn down (“This old house is falling down around my ears”) and who needs their lover close as the day fades into night.
I’ve never heard the slide guitar sound so perfectly matched to someone’s voice as I have with Alison’s music – and once again on Dimming of the Day. That combination evokes such ache and tenderness – it’s so deeply affecting. I’m a latecomer to Alison Krauss, but when I first heard her sing, it was love at first listen – just so pure and authentic. Just about everything I’ve heard from her has gone straight into my music library project, so I’ve had some catching up to do.
The song has been covered by more artists than you can poke a stick at. So many, in fact, that a large portion of the Wikipedia page is devoted to listing versions – including those by Mary Black, Emmylou Harris, and David Gilmour, to name just a few. Richard and Linda don’t exactly get their just due there.
[Verse 1] This old house is falling down around my ears I’m drowning in the fountain of my tears When all my will is gone you hold me sway I need you at the dimming of the day
[Bridge] You pull me like the moon pulls on the tide You know just where I keep my better side
[Verse 2] Now days have come to keep us far apart A broken promise or a broken heart Now all the bonny birds have wheeled away I need you at the dimming of the day
[Bridge] Come the night, you’re only what I want Come the night, you could be my confidant
[Verse 3] Now I see you on the street in company Why don’t you come and ease your mind with me? I’m living for the night that we steal away Oh I need you at the dimming of the day I need you at the dimming of the day
I Don’t Wanna Go On With You Like That is a lively dance-rock number from that “Reg” guy, who features quite prominently here. What I like most about the song is the bouncy and audacious piano playing, and that’s probably what tipped it over the line for me to include it in the music project. There are some great bursts of piano throughout, which I still enjoy, even if the overall sound is a bit tinny and carries that very 1980s synthetic quality.
Around this time, post Too Low for Zero, listeners were starting to grow a bit lukewarm toward Elton’s output. In terms of quality, it was a noticeable dip from his magnificent early ’70s run. This song may well have been seen as modest in comparison to his earlier classics, and that’s probably fair. Also, that glossy 80s synth production – complete with its familiar popping textures – was never going to age as gracefully as his earlier work.
It might come as a surprise, then, that I Don’t Wanna Go On With You Like That became Elton John’s highest-charting US hit of the 1980s, peaking at No. 2 on the Billboard. The song and Sacrifice, which came a year later, marked a little late-80s resurgence for him.
Released on the 1988 album Reg Strikes Back, the song deals with the singer’s frustration on realising his partner doesn’t want a committed, monogamous relationship:
And I don’t wanna go on with you like that Don’t wanna be a feather in your cap
It’s a statement of self-respect – refusing to settle for being just another option. There’s something bold and defiant in that stance. Even in the music video, with Elton strutting around with a kind of upright confidence, you get the sense of someone drawing a line. In that sense, it really does feel like “Reg striking back.”
Wikipedia: Elton played it in his tours during the album tour, Sleeping with the Past Tour and the rest of 1990s before he retired it in 2000 as the One Night Only concert in Madison Square Garden remains the most recent performance of it.
[Verse 1] I’ve always said that one’s enough to love Now I hear you’re braggin’ one is not enough Well, somethin’ tells me you’re not satisfied You got plans to make me one of four or five
[Verse 2] I guess this kind of thing’s just in your blood But you won’t catch me carvin’ up my love I ain’t no puzzle piece that needs to fit If it takes more than me, let’s a-call it quits
[Chorus] ‘Cause I don’t wanna go on with you like that Don’t wanna be a feather in your cap I just wanna tell you, honey, I ain’t mad But I don’t wanna go on with you like that
[Post-Chorus] Oh-oh-oh Whoa-oh Whoa-oh Oh yeah
[Verse 3] It gets so hard sometimes to understand This vicious circle’s gettin’ outta hand Don’t need an extra eye to see That the fire spreads a-faster in a breeze
[Chorus] And I don’t wanna go on with you like that Don’t wanna be a feather in your cap I just wanna tell you, honey, I ain’t mad But I don’t wanna go on with you like that No, I don’t wanna go on with you like that One more set of boots on your welcome mat You’ll just a-have to quit ’em if you want me back ‘Cause I don’t wanna go on with you like that
[Post-Chorus] Oh-oh-oh Whoa-oh Whoa-oh Oh yeah
[Bridge] Oh, if you wanna spread it around, sister, that’s just fine But I don’t want no second hand a-feedin’ me lines If you wanna hold someone in the middle of the night Call out the guards, turn out the light
Being a Curb and Seinfeld fan – as most of you will know – I occasionally slip scenes from these shows into my music posts whenever there’s even the slightest connection to the subject matter. It’s my thing. Anyhow, this scene from Curb popped up in my feed last week, and it made me chuckle and reminisce about the show – which, by the way, I haven’t watched in quite a while.
In this particular episode (Season 5, Episode 10, “The End”), Larry David – who is Jewish – mistakenly learns that he is actually a gentile. What follows is a series of scenes in which he takes on stereotypical Anglo-Protestant activities – things anyone familiar with Larry up to this point would never imagine him partaking in, even in his wildest dreams. Take, for example, a grease-covered Larry repairing a vehicle: no complaints, no snide small talk – just quietly and skillfully doing the job with a kind of understated Anglo-Protestant dignity.
There is another very funny scene here, comparable to the one above, in which Larry and his wife Cheryl pretend to be card-carrying Republicans in order to gain admittance to an exclusive country club. Larry’s savvy, nuanced comedic acting chops are on full display here.
Sometimes when I wake up – as I did last night at around 3 a.m. – and can’t fall back to sleep, I’ll put on an ad-free documentary to ease myself into a gentle slumber. It usually works, but not with this week’s featured documentary. No matter – I’d gone to bed early anyway.
As someone aptly remarked, the documentary was simply too good to fall asleep to. I’d read The Adventures of Tom Sawyer (1876) and its sequel Adventures of Huckleberry Finn (1884) as a youngster, and watched TV adaptations of them, but I was largely ignorant of the man behind the pages. Well, blow me down – like the great American author Ernest Hemingway, I found Mark Twain’s life just as captivating as his most celebrated work.
Video description:
‘Discover the complete life of Mark Twain with other name Samuel Langhorne Clemens, the iconic American author and humorist known for classic works like “Adventures of Huckleberry Finn” and “The Adventures of Tom Sawyer”. We explore Twain’s early years, literary career, personal struggles, and lasting impact on American literature and culture. Dive into the fascinating story of Samuel Clemens, his wit, social commentary, and influence on 19th-century writing and humor. Learn about Twain’s legacy as a master storyteller, satirist, and one of the greatest voices in literary history‘.
Well, we are well into the 2026 Major League Baseball season, and I’m quite the happy camper – especially since they’ve introduced the Automated Ball-Strike (ABS) Challenge System, something I argued for strongly in one of the first articles I wrote on my blog back in 2014, Baseball Romanticism and Perfecting the Strike Zone.
The ABS Challenge System allows players to challenge ball and strike calls made by home plate umpires using Hawk-Eye tracking technology. Each team starts with two challenges per game and retains a challenge if the call is overturned, but loses the ability to challenge after two unsuccessful attempts.
To say it has been a success would be an understatement. It has not only removed a great deal of human error from umpiring, but it has also added a whole new layer of entertainment and intrigue to the game. Spectators now cheer just as loudly for the result of a challenge as they might for a home run.
I don’t know what’s worse to look at – Roger McGuinn’s glasses or The Byrds’ haircuts. Put both on the same album cover and you’ve got yourself a real treat. Arghhh. Don’t mind me – I’m just in a silly mood on this frigid, overcast morning in Bogotá.
I first heard this on the US coming-of-age show The Wonder Years, where it featured in three episodes. While the song became closely associated with the show, it wasn’t the main theme – that went to Joe Cocker’s cover of With a Little Help from My Friends. I’ve mentioned this series often because it left such an impression on me, and a lot of its soundtrack has made its way in here.
Now, back to today’s featured track – the sermon-like, old lefty peace song, Turn! Turn! Turn! Pete Seeger adapted the first eight verses of Chapter 3 of the biblical Book of Ecclesiastes into the song. Apart from the repeated title and the final two lines, the lyrics come directly from that passage.
Seeger recorded his own version, but it was The Byrds who turned it into a hit – something they had a knack for, especially with Bob Dylan songs. Their version reached No. 1 on the US Billboard and No. 26 on the UK Singles Chart.
From Wikipedia: The Biblical text posits there being a time and place for all things: birth and death, killing and healing, sorrow and laughter, war and peace, and so on. The lines are open to myriad interpretations, but Seeger’s song presents them as a plea for world peace with the closing line: “a time for peace, I swear it’s not too late. This line and the title phrase “Turn! Turn! Turn!” are the only parts of the lyric written by Seeger himself”
Pete Seeger gave 45% of the royalties from Turn! Turn! Turn! to the Israeli Committee Against House Demolitions, a group critical of Israeli state policy. Seeger also had long ties to socialist and communist circles, which is reflected in the fact that his handwritten lyrics were later donated to New York University through the Communist Party USA in 2007.
To everything (Turn, turn, turn) There is a season (Turn, turn, turn) And a time to every purpose under heaven
[Verse 1] A time to be born, a time to die A time to plant, a time to reap A time to kill, a time to heal A time to laugh, a time to weep
[Chorus]
[Verse 2] A time to build up, a time to break down A time to dance, a time to mourn A time to cast away stones A time to gather stones together
[Chorus]
[Verse 3] A time of love, a time of hate A time of war, a time of peace A time you may embrace A time to refrain from embracing
[Chorus]
[Verse 4] A time to gain, a time to lose A time to rend, a time to sew A time for love, a time for hate A time for peace, I swear it’s not too late