Si Tú Te Vas (1986) – Juan Luis Guerra y 440

Si Tú Te Vas (English: If You Go) is one of the great successes of ‘merengue romántico’ music. It features Dominican singer songwriter Juan Luis Guerra and his group 440. Each sing a verse and it was the debut single from the 1985 album Mudanza y Acarreo and Guerra’s first ‘merengue’ song. Below I have presented their live version on The Midday Show, Dominican Republic in 1986 which includes to the right of screen a 29 year-old Juan Luis Guerra Y 4:40 (Roger Zayas, Mariela Mercado, Maridalia Hernandez). For many, today’s featured track Si Tú Te Vas represents the ‘beginning’ of Guerra’s commercial career.

Juan Luis Guerra is one of the most internationally acclaimed Latin artists in recent decades, and Si Tú Te Vas marks his eighth appearance here. His music, more than any other I can recall since moving to Colombia, has dominated the country’s airwaves. His popular style of merengue and Latin fusion has garnered him considerable success throughout Latin America. He is also credited for popularizing bachata music on a global level.

Mudanza y Acarreo (Spanish for House Moving and Haulage) is the second album by songwriter and musician Juan Luis Guerra. The album is widely known for making Guerra and 440 famous, and launching to national fame the group within their native Dominican Republic. Si tu te Vas is considered their first hit and was included in the Greatest Hits compilation Grandes Éxitos Juan Luis Guerra y 440 (1995). Lead singer Juan Luis Guerra and power-vocalist Maridalia Hernandez redefined 440’s sound to more traditional danceable merengue boundaries and made a more commercial turn to the band’s musical career.

A crude English translation of part of the lyrics follow below:

[Intro]
If you go, if you go
My heart will die
If you go, if you go
My heart will die
If you go

[Verse 1]
You are, my love, all I have
The sea that bathes me, the light that guides me
You are the home I inhabit
And if you go, I have nothing left
If you go

[Verse 2]
You are the mountain, ooh ooh
That my body seeks, ooh ooh
The river at night, ooh ooh
Spring, winter, ooh ooh

You are what I dream of, ooh ooh
I wake up, and if you go, ooh ooh
I have nothing left

[Verse 3]
You are, my life, the wheat that I sow
Everything I think, my voice, my joy
You are what I yearn for and crave, if you go away
I have nothing left if you go away

[Verse 4]
You are my life, ooh ooh
All my nourishment, ooh ooh
The story that rhymes, ooh ooh
If you are in my verses

You are the blanket, ooh ooh
My breath, ooh ooh
And if you go away
I have nothing left, oh no!

References:
1. Mudanza y Acarreo – Wikipedia

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Show Me The Place (2012) – Leonard Cohen

Show me the place where the Word became a man
Show me the place where the suffering began

Leonard Cohen has crafted some of the finest modern spiritual songs, and today’s featured track, Show Me the Place, stands among the best in this genre. Show Me The Place is from his twelfth studio album Old Ideas released in January 2012. It is Cohen’s highest-charting release in the United States, reaching number 3 on the Billboard 200, 44 years after the release of his first album. Show Me the Place is the fifth track from this late-career masterpiece to be featured here. Few singer-songwriters can be said to improve with age, but Leonard Cohen is certainly one of them.

Leonard’s music is able to enter the heart and mind, and often against our will by broaching difficult subjects such as ‘suffering’. Show Me the Place makes me feel like he’s humming a prayer directly into my ear, only for me, only to me, his precious secret thoughts and doubts. Help me roll away the stone of temptations / troubles that prevent us from freeing up our spirit to be in unison with God.

Cohen penned the song with Patrick Leonard, who is best known for co-writing many of Madonna’s late ’80s hits. As Cohen told Mojo in 2013, he met the producer when he was making an album with Cohen’s son, singer Adam Cohen:

And I know the work he did with Madonna. I think he’s a seminal figure in modern American music, very brilliant. I was listening to some of his solo piano work, too. I bumped into him with Adam several times, and somehow we got together and these four songs we did together came very quickly…Pat saw the lyric for ‘Going Home‘ and said, ‘This could be a really good song,’ and I said, ‘I don’t think so.’ He said, ‘Can I have a shot at it?’ I said, ‘Sure.’ He came back with the music, I don’t know if it was the next hour or the next day but it was very fast…He is a very unusual man and, I guess, we were both in good form..

[Verse 1]
Show me the place where you want your slave to go
Show me the place, I’ve forgotten, I don’t know
Show me the place, for my head is bendin’ low
Show me the place where you want your slave to go

[Verse 2]
Show me the place, help me roll away the stone
Show me the place, I can’t move this thing alone
Show me the place where the word became a man
Show me the place where the suffering began

[Bridge]
The troubles came, I saved what I could save
A thread of light, a particle, a wave
But there were chains, so I hastened to behave
There were chains, so I loved you like a slave

[Verse 1]
Show me the place where you want your slave to go
Show me the place, I’ve forgotten, I don’t know
Show me the place, for my head is bendin’ low
Show me the place where you want your slave to go

[Bridge]
The troubles came, I saved what I could save
A thread of light, a particle, a wave
But there were chains, so I hastened to behave
There were chains, so I loved you like a slave

[Verse 2]
Show me the place, help me roll away the stone
Show me the place, I can’t move this thing alone
Show me the place where the word became a man
Show me the place where the suffering began

For you music trivia buffs out there Show Me the Place features backing vocals from singer-songwriter Jennifer Warnes, whose biggest hits include two Oscar winning duets: “Up Where We Belong” (with Joe Cocker, from An Officer and a Gentleman) and “(I’ve Had) The Time of My Life” (with Bill Medley from Dirty Dancer). In 1971, she met Cohen, and they became lifelong friends. Warnes has toured Europe with Cohen’s band and featured as vocal arranger and guest singer on many of his albums. In 1986 she recorded the album Famous Blue Raincoat, which was made up entirely of Cohen-penned songs.

Bob Dylan, who referred to Cohen as “number one“, cited three songs from “Old Ideas” in his list of favourite Cohen songs: “Going Home“, “Show Me the Place” and “Darkness“.

References:
1. Show Me the Place – Song Facts
2. Fan Thoughts on Show Me the Place – Leonard Cohen Forum
3. Old Ideas – Wikipedia

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Should I Wait (1973) – Raspberries

If you the threw into a music blender The Byrds – I’ll Feel a Whole Lot Better and a sped up melodic instrumental version of Don William’s – I Believe in You then Should I Wait by the Raspberries might sound like the result. I challenge you to listen to the former by The Byrds and not hear the striking similarities between the two; it’s almost uncanny, which is not to insinuate that today’s featured track doesn’t hold up on it’s own.
I first heard it in Max’s PowerPop article way back in December, 2021. I agree with him when he described Should I Wait as ‘country tinged power pop‘. It seems deceptively simple and an emulation of other music, but artists have been borrowing and stealing for decades, and when a band can achieve this crisp and catchy sound you have to give credit where it’s due. It does seem Should I Wait stands as a testament to the band’s influence on the power pop genre and with each listen it sounds better.

Below are snippets from Max’s article:
‘The Raspberries formed in the early 1970s when Eric Carmen and Jim Bonfanti envisioned a band that would emulate bands such as The Beatles, The Who, and The Beach Boys.
This song came off of the Side 3 album released in 1973…It was an odd and cool album cover (see image left). It was a die-cut of a basket of Raspberries, with the group’s name placed on top of the LP sleeve. 

Three members wrote and sang songs. It wasn’t just Eric Carmen…This song (Should I Wait) was written and sung by Dave Smalley the bass player. This was their third album and they would end up releasing four studio albums’.

[Verse 1]
Don’t you know you’re gonna lose
If you love somebody that don’t love you?
You’ll believe him when he’s untrue
But I can’t bear seeing him break your heart in two
I’ve let it happen much too long

[Chorus]
Should I wait, hoping you’ll find out on your own?
It’s me who’s loved you for so long

[Verse 2]
If he hurts you with his lies
Don’t let it take too long to open your eyes
You’re gonna see through his disguise
But I can’t bear seeing him break your heart in two
I’m tired of trying to play it cool

[Verse 3]
If I had the chance I’d make you see
When you fall in love how it should be
A love that makes you sad can only turn out bad
So I’ll be hanging ’round until you’re free

The album itself, while not reaching the commercial heights of their earlier releases, is regarded as a cult classic, with Rolling Stone calling it “an album that stands the test of time.” Artists like Cheap Trick and The Knack have cited Raspberries as a major influence. Eric Carmen’s later solo success, particularly with ballads like All by Myself, drew attention back to his earlier work with Raspberries, further boosting the song’s legacy.

References:
1. Side 3 (Raspberries album) – Wikipedia

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Shooting Star (1989) – Bob Dylan

“The song came to me complete, full in the eyes like I’d been traveling on the garden pathway of the sun and just found it. It was illuminated. I’d seen a shooting star from the backyard of our house, or maybe it was a meteorite.”
– From Bob Dylan’s memoir Chronicles: Volume One

Shooting Star is the tenth and final track on Dylan’s critically acclaimed 80’s Oh Mercy album. It is more than an apt choice to end the record because it is a last round; ‘closing bar’ time Dylan song. It puts me into a quiet space of gentle melancholy about lost acquaintances. It is a simple song of lost love with a beautiful melody for his reflections. I think he ended the record on exactly the right note. When I was in my youth I considered Shooting Star my favourite from the album, but I prefer other songs from the record now such as Most of the Time and Ring Them Bells, and if he had put Series of Dreams of it, it could have been extraordinary.

[Verse 1]
Seen a shooting star tonight
And I thought of you
You were trying to break into another world
A world I never knew
I always kind of wondered
If you ever made it through
Seen a shooting star tonight
And I thought of you

[Verse 2]
Seen a shooting star tonight
And I thought of me
If I was still the same
If I ever became what you wanted me to be
Did I miss the mark or overstep the line
That only you could see?
Seen a shooting star tonight
And I thought of me

[Verse 3]
Listen to the engine, listen to the bell
As the last fire truck from hell
Goes rolling by
All good people are praying
It’s the last temptation, the last account
The last time you might hear the sermon on the mount
The last radio is playing

[Verse 4]
Seen a shooting star tonight
Slip away
Tomorrow will be
Another day
Guess it’s too late to say the things to you
That you needed to hear me say
Seen a shooting star tonight
Slip away

Rolling Stone magazine included Shooting Star on a list of “Bob Dylan’s Greatest Songs of the 1980s“, noting that it “echoes some of the self-doubt and regret heard earlier on ‘Most of the Time“. According to his official website, Dylan performed the song 126 times in concert on the Never Ending Tour between 1990 and 2013. A live performance from New York City in 1994 was filmed and officially released on the Bob Dylan MTV Unplugged television special and accompanying live album in 1995.
The song is prominently featured in Curtis Hanson’s Academy Award-winning 2000 film Wonder Boys which featured here at Friday’s Finest back in August 2021.

References:
1. Shooting Star (Bob Dylan song) – Wikipedia

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Shipyard Town (1988) – Gerry Rafferty

Shipyard Town is the third song to be presented here from Scottish singer songwriter Gerry Rafferty after his highly acclaimed 70’s hits Baker Street and Right Down the Line. He was a founding member of Stealers Wheel, whose biggest hit was Stuck in the Middle with You. Today’s featured track is not nearly as well known as those three, but this Shipyard Town is in a class of its own. I love its pronounced Celtic sound and how it speaks of the working class. I’m surprised it wasn’t a smash hit. It was one of the singles from his sixth studio album North and South and it also was released on several compilation albums.

Most of the following information was extracted from the Wikipedia article below. It is highly abridged and is not reflective of Rafferty’s extensive musical career, so I would encourage to read from the source for more information:

Heavily influenced by folk music and the music of the Beatles and Bob Dylan, Rafferty started to write his own material. He worked in a variety of modest jobs in the early 60’s, but he explained in an interview, “But there was never anything else for me but music. I never intended making a career out of any of the jobs I did.” In the mid 1960s Rafferty earned money, for a time, busking on the London Underground. In 1969 he became the third member of a folk-pop group, the Humblebums, along with comedian Billy Connolly. In 1971 he recorded his first solo album, Can I Have My Money Back? which was a critical success but did not enjoy commercial success. According to Rafferty’s daughter Martha, it was around this time that her father discovered, by chance, Colin Wilson’s classic book The Outsider, about alienation and creativity, which became a huge influence both on his songwriting and his outlook on the world: “The ideas and references contained in that one book were to sustain and inspire him for the rest of his life.

Rafferty eventually did achieve fame and commercial success with he songs highlighted at the beginning of this article. Fast forward to 1983, Rafferty sang the Mark Knopfler-penned song The Way It Always Starts on the soundtrack of the film Local Hero which featured here at Friday’s Finest in April 2023. Also in 1983, Rafferty announced his intention to take a break and devote more time to his family: “It dawned on me that since Baker Street I had been touring the world, travelling everywhere and seeing nowhere. Whatever I do in the future, it’s at my own pace, on my own terms.”

At a 16th-century Tye Farm in Hartfield, near the Kent-Sussex border closed himself to the rest of the world to concentrate on recording. According to his former wife Carla, who discouraged visitors: “He was just stalling for time. Maybe some new project would suddenly happen, but I knew he’d crossed the line as far as the record business went.” His next album, North and South, was released in 1988 which received mixed reviews. Shipyard Town stood out as a reflective piece, drawing inspiration from Rafferty’s deep connection to Scotland and the people whose lives were tied to its industrial heritage. It evokes a sense of melancholy but also pride. It’s a lament for an era slipping away, yet it’s equally a tribute to the workers who defined it.

In a dance hall by the river, I was singing in a travelling band
Just another small town night, with a silver moon shining
I remember when I saw you, that first moment when it all began
You looked across a crowded room, and stole my heart away

And we stood out in the moonlight, in the shadow of a factory wall
Music playing soft and low, and a gentle breeze sighing
And the light on the river was magic, yes a magic that I still recall
Moments come and moments go, but these moments still remain

Remember how we met, down by the waterside
How easily we forget, all the love that we knew

So we married our fortunes together, and we sealed it with a golden band
But somewhere down along the road, we could see the flame dying
Now an exiled heart gets weary, like two strangers in a foreign land
We reached the point of no return, a long long time ago

Remember how we met, down by the waterside
How easily we forget, all the love that we knew

References:
1. Gerry Rafferty – Wikipedia

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Shine on You Crazy Diamond (1974) – Pink Floyd

Pink Floyd first performed Shine on You Crazy Diamond on their 1974 French tour.

My first listen of Shine on You Crazy Diamond remains one of my most cherished memories of my adolescence. There was a voracious and charismatic Danish exchange student at my high school called Hans who put a whole group of us onto this song in grade 11 cerca 1989. During a night-out at his exchange parent’s home, he had us lie down on the living room. After slight murmurs and curious giggles silence ensued and he put on today’s featured track. I had no idea that his little social-music experiment would almost send me off into a trance. Music had never had that transcendental affect on me before. The experience felt like we were following some special rights passage of his proud culture which he had left behind.

This is not a song, this is a spiritual experience

The following was extracted from the Wikipedia article below:
Shine On You Crazy Diamond is a nine-part Pink Floyd composition written by David Gilmour, Roger Waters, and Richard Wright, which was first performed on Pink Floyd’s 1974 French tour and appeared in Pink Floyd’s 1975 concept album Wish You Were Here. This song is the 4th Pink Floyd piece to showcase here after their previous entry On the Turning Away.

The song is written about and dedicated to founder member Syd Barrett, who departed from the band in 1968 after dealing with mental problems and substance abuse. The track was originally intended to be a side-long composition, like “Atom Heart Mother” and “Echoes“, but was ultimately split into two parts Parts I–V and Parts VI–IX and used to bookend the album, with other newly composed material acting as a bridge. The song would be the first song to be started and the last song to be recorded for the album.

[Verse 1: Roger Waters]
Remember when you were young
You shone like the Sun
Shine on, you crazy diamond

Now there’s a look in your eyes
Like black holes in the sky

Shine on, you crazy diamond

You were caught in the crossfire of childhood and stardom
Blown on the steel breeze
Come on, you target for faraway laughter
Come on, you stranger, you legend, you martyr, and shine

You reached for the secret too soon
You cried for the Moon

Shine on, you crazy diamond

Threatenеd by shadows at night
And exposed in the light
Shinе on (Shine on), you crazy diamond (You crazy diamond)

Well, you wore out your welcome with random precision
Rode on the steel breeze
Come on, you raver, you seer of visions
Come on, you painter, you piper, you prisoner, and shine

Nobody knows where you are
How near or how far
Shine on, you crazy diamond

Pile on many more layers
And I’ll be joining you there
Shine on, you crazy diamond

And we’ll bask in the shadow of yesterday’s triumph
And sail on the steel breeze
Come on, you boy child, you winner and loser
Come on, you miner for truth and delusion, and shine!

References:
1. Shine On You Crazy Diamond – Wikipedia

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She’s The One (1975) – Bruce Springsteen

She’s The One is one of the most emotionally charged and fervent rock songs I recall hearing and that’s why I rate it so highly on Bruce’s historic break-out record Born to Run. It often goes under the radar against other big name songs on the record like the last entry here – the title track, but after copious listens this track hasn’t lost any of its vigor or allure to my senses. From that pulsating piano rhythm by Roy Bittan in the opening and the captivating lyrics. Then boom! The simple guitar riff in time with the rhythmic pounding of Max Weinberg’s drums really get my rock juices flowing. The rest as seen in the ‘Barcelona’ performance below is just a coalesce of the best that rock has to offer. She’s the One has got to be in my top 10 Bruce Desert Island keepers.

It’s a crescendo rock song exploring themes of love, desire, and the destructive power of infatuation. The simplicity of its rock and roll form is deceptive. Lyrically, it touches on themes of romantic obsession and lust, but there’s a darker, more complicated undercurrent—the woman in the song is unattainable, and perhaps even destructive to the protagonist.

She’s The One was one of the songs that Springsteen wrote before beginning to record the Born to Run album, along with Born to Run, Thunder Road and Jungleland, although originally he was not sure whether to include it on the album. I bet he is relieved that he did because it became a fan favourite and a popular live selection being played 565 times. Springsteen has claimed that he wrote the song primarily because he wanted to hear E Street Band saxophonist Clarence Clemons play its sax solo and high marks to him on achieving that. It’s also a nostalgic homage to the roots of rock and roll. We are talking about the apex of Rock’n Roll here.

[Verse 1]
With her killer graces
And her secret places
That no boy can fill
With her hands on her hips
Oh, and that smile on her lips
Because she knows that it kills me
With her soft French cream
Standing in that doorway like a dream
I wish she’d just leave me alone
Because French cream won’t soften them boots
And French kisses will not break that heart of stone

[Chorus 1]
With her long hair falling
And her eyes that shine like a midnight sun
Oh, she’s the one
She’s the one
Hey! Hey!

[Verse 2]
That thunder in your heart
At night when you’re kneeling in the dark
It says you’re never gonna leave her
But there’s this angel in her eyes
That tells such desperate lies
And all you want to do is believe her
And tonight you’ll try just one more time
To leave it all behind and to break on through
Oh, she can take you, but if she wanna break you
She’s gonna find out that ain’t so easy to do

[Chorus 2]
And no matter where you sleep
Tonight or how far you run
Oh, she’s the one
She’s the one

[Bridge]
Oh, and just one kiss
She’d fill them long summer nights with her tenderness
That secret pact you made
Back when her love could save you from the bitterness
Oh, she’s the one

References:
1. She’s the One (Bruce Springsteen song) – Wikipedia

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She’s My Baby (1990) – The Traveling Wilburys

She’s My Baby is another rollicking fun song from the super group The Traveling Wilburys. It’s the 11th song from the group to be presented here so far, so you could say I’m a fan putting it mildly. Most of the songs here are from their legendary Volume 1 record which included Roy Orbison, but today’s track is from their second and final studio release Volume 3. Their Volume 1 album seemed more focused and spotlighted each songwriter’s talent. Volume 3 seemed less well-honed and frivolous in its endeavour. And that’s fine and considering the recent departure of Orbison, I imagine the individuals in the group were not up to making another masterpiece rather settling for ‘mixing it up a bit and see what happens’.

Traveling Wilburys Vol. 3 is the second and final studio album by the Traveling Wilburys. I once thought Vol. 2 was skipped in memory of Roy Orbison, but according to Jeff Lynne, “That was George’s idea. He said, ‘Let’s confuse the buggers‘. After Roy’s passing the remaining 4 members adopted new pseudonyms for Vol. 3 – Spike (George Harrison), Clayton (Jeff Lynne), Muddy (Tom Petty) and Boo (Bob Dylan). Today’s featured track She’s My Baby was written by all 4 members – and each of them sing a portion of the track. The song was released as the first single from the album, although it was only issued as a promotional single in the United States. The lead guitar part is played by Gary Moore.

The single peaked at number 2 on the Billboard Album Rock Tracks chart peaking there for 3 weeks behind Concrete and Steel by ZZ Top. The album was less positively received than Vol. 1, yet still saw a fair measure of success peaking at number 14 in the UK and number 11 in the US, where it was certified platinum.

She’s got her pudding in the oven
And it’s gonna be good
She better not leave me
And go out to Hollywood
She got the best pudding in the neighborhood
She’s my baby

She can drive a truck
She can drive a train (My baby, m-my my baby)
She can even drive an aeroplane
She’s so good to look at in the rain
She’s my baby

She’s comin’ down the sidewalk
She’s stumblin’ through the door
She’s coming home from places
She’s never been before
She sits down on the sofa
She pours herself a drink
Says, “Honey, honey, honey, ain’t no time to think”

She’s got a body for business
Got a head for sin
She knocks me over like a bowling pin
She came home last night and said
“Honey, honey, honey, it’s hard to get ahead”

She can build a boat
She can make it float (My baby, m-my my baby)
She can play my guitar
Note for note
She likes to stick her tongue right down my throat
She’s my baby

My baby
My baby
My baby

References:
1. She’s My Baby (Traveling Wilburys song) – Wikipedia

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She’s A Mystery To Me (1989) – Roy Orbison

In the late 1980s, Roy Orbison experienced a career resurgence with a string of solo hits, further cemented by his unforgettable contribution to the supergroup, The Traveling Wilburys. One such stand – out single is today’s featured track She’s a Mystery to Me. It was written by Bono from U2 and the backstory as described below about it coming to fruition is fascinating. She’s a Mystery to Me was released on Orbison’s final (posthumous) album, Mystery Girl (also inspiring the album title), and as the album’s second single in March 1989. What always stood out for me apart from his consummate voice here is the mesmerising guitar work.

Composition (from the Wikipedia article below):
During a restless night of sleep in June 1987 in London during U2’s Joshua Tree Tour, Bono slept with the soundtrack to the film Blue Velvet CD on repeat. The CD had been given to him by the Edge’s wife. The soundtrack includes the song “In Dreams” by Orbison. When he woke the following morning, Bono had a tune in his head which he assumed was from the soundtrack. He soon realised it wasn’t, so he wrote down the basic structure of the song. Later that day he sang the unfinished song to the band at their pre-concert soundcheck at Wembley Arena. After the concert, Orbison paid the band an unannounced visit backstage, where a perplexed Bono played the song for him. Bono and Orbison worked again on the song in mid-November in Los Angeles. The album Mystery Girl was named after the song’s chorus (“She’s a mystery to me, she’s a mystery girl…”)

Critical reception towards the song was overwhelmingly positive. It peaked at No 26 on the US Billboard charts and No 17 in Australia. She’s a Mystery to Me came later in Roy’s career and so close to his unexpected passing will forever be etched into our memories as avid music – goers.

[Verse 1]
Darkness falls and she
Will take me by the hand
Take me to some twilight land
Where all but love is grey
Where I can’t find my way
Without her as my guide

[Bridge 1]
Night falls, I’m cast beneath her spell
Daylight comes, our heaven turns to hell
Am I left to burn
And burn eternally?
She’s a mystery to me

[Chorus]
She’s a mystery girl
She’s a mystery girl

[Verse 2]
In the night of love
Words tangled in her hair
Words soon to disappear
A love so sharp it cut
Like a switchblade to my heart
Words tearing me apart

[Bridge 2]
She tears again my bleeding heart
I wanna run, she’s pulling me apart
Fallen angel cries
And I just melt away
She’s a mystery to me

[Chorus]

[Verse 3]
Haunted by her side
It’s the darkness in her eyes
That so enslaves me
But if my love is blind
Then I don’t want to see
She’s a mystery to me

References:
1. She’s a Mystery to Me – Wikipedia

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Shenandoah (1988) – Bob Dylan

When I hear this version, I am in a canoe in a river in the East Part of USA, ca 1770, paddling to meet my sweet Indian princess.
– Anon

Even a Dylan album Rolling Stone labelled as his worst has some good stuff on it, including today’s featured track Shenandoah. Listening to it always reminded me of that 1965 Jimmy Stewart Civil War movie by the same name because the instrumental version of “Oh Shenandoah” featured prominently on the film’s soundtrack. It is a traditional folk song, sung in the Americas, of uncertain origin, dating to the early 19th century. It appears to have originated with American and Canadian voyageurs or fur traders travelling down the Missouri River in canoes. Some lyrics of this song as heard here tell the story of a trader who fell in love with the daughter of the Oneida Iroquois chief Shenandoah (1710–1816) who lived in the central New York state town of Oneida Castle.

[Verse 1]
Oh, Shenandoah, I long to hear you
Look away, you rolling river
Oh, Shenandoah, I long to hear you
Look away. We’re bound away
Across the wide Missouri

[Verse 2]
Now the Missouri is a mighty river
Look away, you rolling river
Indians camp along her border
Look away. We’re bound away
Across the wide Missouri

[Verse 3]
Well a white man loved an Indian maiden
Look away, you rolling river
With notions his canoe was laden
Look away, we’re bound away
Across the wide Missouri

[Verse 4]
Oh Shenandoah, I love your daughter
Look away, you rolling river
It was for her I’d cross the water
Look away, we’re bound away
Across the wide Missouri

[Verse 5]
For seven long years I courted Sally
Look away, you rolling river
Seven more years I longed to have her
Look away, we’re bound away
Across the wide Missouri

[Verse 6]
Well, it’s fare-thee-well, my dear
I’m bound to leave you
Look away you rolling river
Shenandoah, I will not deceive you
Look away, we’re bound away
Across the wide Missouri

This is a guilty pleasure Dylan track that I like hearing from time to time. Down in the Groove his twenty – fifth studio album was a highly collaborative effort, more than normal, (including the appearance of the Grateful Dead) and the songs that made the final cut come from half a dozen different recording sessions spread out over six years. After the album’s release, Dylan went live incorporating an endless variety of traditional cover songs; a marked departure from previous shows. It would be a prelude of where he ventured in the early 1990’s on the Good as I Been to You and World Gone Wrong albums.

References:
1. Oh Shenandoah – Wikipedia

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