Easy On Your Own? (2022) – Alvvays

Allow me to get this out of my system…Today is heaven as far as World Football is concerned and I couldn’t be more excited: England – Switzerland, Holland – Turkey, Colombia – Panama and Uruguay – Brasil. I’m almost salivating writing it. Colombia turns into a street festival when their football team plays. Not only that, my favourite Australian football team Richmond Tigers are set to play in 15 minutes time. Now onto to today’s featured track….

If I was currently in my teens or early twenties I’m almost certain I would be fully invested in the music by Alvvays. Perhaps even bought their albums and gone to see them in concert. This is the sixth appearance by them here and be assured it won’t be the last. Easy On Your Own? was the second song released from their latest record Blue Rev which has received widespread acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 the album received an average score of 86.
Tim Sendra at Allmusic declared that, “the songs are memorable and fun, the performances are inspired, and the production is varied and always interesting,” and that “the result is a heavenly indie pop hit guaranteed to make their already besotted fans fall even more head over heels in love with the band.”

Wikipedia says Easy On Your Own? is a dream pop, indie rock and shoegaze song. The track uses audio feedback, distortion, and the glide guitar technique. Molly Rankin’s vocals are low in the mix compared to the instrumental.
Opinions differ about what the lyrics mean. According to Stereogum, the lyrics of Easy On Your Own? are about “feeling disaffected and worrying about the future“. It could also be read as a lament on being alone after a breakup like what Consequence said: ‘the lyrics are about “[working] through a breakup“. I like this one from Paste which fuses the two camps: “neatly blurs the lines between a floundering relationship and the drudgery of our current times“. I love the strong imagery in the line “crawling in monochromatic hallways“.

I consider Easy On Your Own? a great ‘zeitgeist‘ song for this current epoch. I hope you enjoy it. Thanks for reading as always.

I dropped out
College education’s a dull knife
If you don’t believe in the lettered life
Then maybe this is our only try
And how I gauge
Whether this is stasis or change
Fill out the requirements on the page
And burn out before you can get paid

[Pre-Chorus]
‘Cause we’re always
Crawling in monochromatic hallways
Dream we pull a one-eighty some day

[Chorus]
If you don’t like it, well
Say it’s over, well
Weekends alone

[Verse 2]
Evеr lay back and watch the sunrise?
Ever hеar violins in your mind?
You know it’s only wind outside

[Pre-Chorus]

[Chorus]
If you don’t like it, well (You don’t like it)
Say it’s over, well (Say it’s over)
Weekends alone
Does it get easier on your own?
Does it get easier on your own?

[Bridge]
I waited so long for you
Wasted some of the best years of my life
And I wanted to see it through
This time
This time

[Chorus]

References:
1. Blue Rev – Wikipedia
2. Easy On Your Own? – Wikipedia

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Darling Pretty (1996) – Mark Knopfler

Darling Pretty was the first solo song by Mark Knopfler I was drawn to after the 2nd and final break up of Dire Straits in 1995. It’s a beautifully crafted rock ballad about someone he adores. It was the first single released from his debut solo studio album Golden Heart and reached number 33 in the UK Singles Chart. It was also featured in the 1996 film Twister.
Following a successful career leading British rock band Dire Straits and composing a string of critically acclaimed film soundtrack albums, Knopfler recorded his first solo album, drawing upon the various musical influences he’d engaged since emerging as a major recording artist in 1978. The album reached the top-10 position on charts in Austria, Belgium, Finland, Italy, the Netherlands, Norway, Sweden, Switzerland and the United Kingdom, but strangely peaked at 105 on the Billboard 200 in the United States.

In an interview, Knopfler mentioned that the inspiration for Darling Pretty came from his reflections on love and the passage of time. The song weaves a tender narrative, underscored by Knopfler’s evocative guitar melodies and heartfelt lyrics. It’s a love song, but with the depth and nuance that Knopfler’s fans have come to expect. Darling Pretty made its live debut during Knopfler’s Golden Heart tour in 1996. The tour marked a significant shift as Knopfler transitioned from bandleader to solo artist, embracing a more personal and introspective performance style. The inaugural concert featured a mix of Dire Straits classics and Knopfler’s new solo material, with Darling Pretty often serving as an emotional highlight of the set. It solidified Knopfler’s reputation as a solo artist capable of producing deeply resonant music.

[Verse 1]
It’s time to come away, my darling pretty
It’s time to come away on the changing tide
Time to come away, darling pretty
And I need you darling by my side

[Verse 2]
Heal me with a smile, darling pretty
Heal me with a smile and a heart of gold
Carry me awhile, my darling pretty
Heal my aching heart and soul

[Bridge]
Just like a castaway
Lost upon an endless sea
I saw you far away
Come to rescue me

[Verse 3]
Cast away the chains, darling pretty
Cast away the chains away behind
Take away my pain, my darling pretty
And the chains that once were yours and mine

[Verse 4]
There will come a day, darling pretty
There will come a day when our hearts can fly
Love will find a way, my darling pretty
Find a heaven for you and I
Love will find a way, my darling pretty
Find a heaven for you and I

References:
1. Golden Heart – Wikipedia

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Russian Dance (1993) – Tom Waits

Russian Dance is one of 6 instrumentals from Tom Waits 12th studio album The Black Rider which is probably his most extreme album, not for its individual songs, but the contrasts between them. The Black Rider was a project born from a collaboration with playwright Robert Wilson and writer William S. Burroughs. The album was the soundtrack to a musical of the same name, an adaptation of the German folktale “Der Freischütz,” which tells the story of a man who makes a pact with the devil (Faustian Bargain) to prove his worth as a hunter in order to marry the huntsman’s daughter. (Read more here).

Waits’ composition for Russian Dance seems inspired by the musical traditions of Eastern Europe, particularly the frenetic energy and melancholic undertones of Russian and Balkan folk music. It captures the essence of a raucous celebration, and also a sense of urgency and madness where folklore and reality blur, reflecting the character’s descent into chaos as he grapples with his Faustian bargain.

At 2:08 Tom can be heard yelling the following which was detected as ‘Ukrainian’ on Google Translate. Both Ukrainian and Russian belong to the East Slavic language family. Ukraine and Russia share a significant amount of vocabulary, with estimates suggesting that they share around 62% of their vocabulary. Ukraine’s independence was recognized by the international community in December 1991:

Davai yestshio! Davai yestshio!
Odeen, dva, tree, cheteeri

Let’s tweet! Let’s tweet!
One, two, three, four

Reference:
1. The Black Rider (album) – Wikipedia

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Devils & Dust (2005) – Bruce Springsteen

Devils & Dust is a latter day Springsteen acoustic number I’ve always been fond of and draws upon similar themes of lost hope and despair as his solo 1996 acoustic number Dead Man Walkin’ from the movie soundtrack of the same name. Faith isn’t even enough to confront the evil which wells inside and the impending harm it will cause. Devils & Dust is the title track on Bruce Springsteen’s thirteenth studio album and concerns the Iraq War.
According to Wiki, ‘the song tells the story of a troubled American soldier who is presumably serving in the 2003 invasion of Iraq and questions his role and struggles to find guidance in his mission all the while wary of the changes he is undergoing‘.

The protagonist is accompanied by fellow soldier ‘Bobby’ and they are a long, long way from home. There is no turning back from the road which they have gone down. And the narrator’s reliance upon God is tested when he sees Bobbie, dying in “a field of blood and stone.” The line “I got God on my side” which begins each each chorus might be a reference to Bob Dylan’s classic anti-war song With God on Our Side.

[Verse 1]
I got my finger on the trigger
But I don’t know who to trust
When I look into your eyes
There’s just devils and dust

[Verse 2]
We’re a long, long way from home, Bobbie
Home’s a long, long way from us
I feel a dirty wind blowing
Devils and dust

[Chorus]
I got God on my side
And I’m just trying to survive
What if what you do to survive
Kills the things you love
Fear’s a powerful thing, baby
It can turn your heart black, you can trust
It’ll take your God-filled soul
And fill it with devils and dust

[Verse 3]
Well, I dreamed of you last night
In a field of blood and stone
The blood began to dry
The smell began to rise

[Verse 4]
Well, I dreamed of you last night, Bobbie
In a field of mud and bone
Your blood began to dry
And the smell began to rise

[Chorus]

[Verse 5]
Now every woman and every man
They want to take a righteous stand
Find the love that God wills
And the faith that He commands


[Verse 6]
I’ve got my finger on the trigger
And tonight faith just ain’t enough
When I look inside my heart
There’s just devils and dust

[Chorus]

Springsteen originally soundchecked the song with the E Street Band during The Rising Tour on April 11, 2003, at Pacific Coliseum in Vancouver, British Columbia, Canada.
As recorded for the Devils & Dust album, the song has a dynamic arrangement, belying the common image of the album being “acoustic” or “folk” in the sense that each successive verse is augmented by new instrumentation as follows:

  • the ominous synthesizer-and-horns in the 2nd
  • cyclical strings half way through that,
  • harmonica solo
  • drums and bass from kick in after second chorus
  • third verse quiet again before drums and percussion return
  • a reprise of the harmonica line carries the outro.

Devils & Dust saw scant radio airplay and peaked at No 72 on the Billboard Hot 100. The song gained critical praise as well as a Song of the Year nomination at the Grammys and took home the prize for Best Solo Rock Vocal Performance. His other two nominations lost to U2 songs. Springsteen also gave a solo performance which was preceded by a glowing introduction from actor Tom Hanks and immediately followed by a brief editorial exclamation from Springsteen, “Bring ’em home!” making reference to his desire for withdrawal of U.S. troops from Iraq.

The music video below of Devils & Dust was filmed at an empty Paramount Theatre in Asbury Park, New Jersey. 

References:
1. Devils & Dust (song) – Wikipedia

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Rusalka (Song to the Moon) 1900 – Antonín Dvořák (Ft. Renée Fleming)

Today’s featured piece – the soprano aria Song to the Moon is the most popular excerpt from Antonín Dvořák’s opera Rusalka. It is the second entry from Dvořák to appear here after Symphony No. 9 in E minor, Op. 95, B178 “From the New World”. Dvořák was a Czech composer who is considered one of the greatest composers of the Romantic era and also one of the most versatile. Rusalka was his 9th Opera and also his most popular. The rusalka is a water sprite (a water fairy) from Slavic mythology; it usually inhabits a lake or river. Rusalka sings her Song to the Moon, asking it to tell the prince of her love. 

For many years Rusalka was largely unfamiliar outside the Czech lands and not a central part of his output or of international theatre. Rusalka was first performed in Prague on 31 March 1901, with Růžena Maturová as the first Rusalka. In recent years it has been performed more regularly by major opera companies. In the five seasons from 2008 to 2013 it was performed by opera companies worldwide far more than all of Dvořák’s other operas combined.

English translation of ‘Song to the Moon‘:

Moon, high and deep in the sky
Your light sees far,
You travel around the wide world,
and see into people’s homes.
Moon, stand still a while
and tell me where is my dear.
Tell him, silvery moon,
that I am embracing him.
For at least momentarily
let him recall of dreaming of me.
Illuminate him far away,
and tell him, tell him who is waiting for him!
If his human soul is, in fact, dreaming of me,
may the memory awaken him!
Moonlight, don’t disappear, disappear!

Dvořák frequently employed rhythms and other aspects of the folk music of Moravia and his native Bohemia, following the Romantic-era nationalist example of his predecessor Bedřich Smetana. Dvořák’s style has been described as “the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them“.

Reference:
1. Rusalka (opera) – Wikipedia
2. Antonín Dvořák – Wikipedia

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Running Scared (1961) – Roy Orbison

The operatic ballad Running Scared is the second song by Roy Orbison presented here in quick succession from his legendary record Crying. This monumental track went to number 1 on the Billboard charts and sold over one million copies in the US alone. Just like the previous entry here – Crying, Roy’s inimitable voice is on full display here as it closes the record. Noted for being a song written without a chorus, the song builds in the lyrics, arrangement, and vocals to a climax that, without vibrato, demonstrating the power of Orbison’s clear, full voice. The version presented below is Roy Orbison and his all-star cast of friends (Bruce Springsteen, k.d. lang, Elvis Costello and more) from “A Black and White Night” concert.

Just runnin’ scared each place we go
So afraid that he might show
Yeah, runnin’ scared, what would I do?
If he came back and wanted you

Just runnin’ scared, feelin’ low
Runnin’ scared, you love him so
Just runnin’ scared, afraid to lose
If he came back which one would you choose

Then all at once he was standing there
So sure of himself, his head in the air
My heart was breaking, which one would it be
You turned around and walked away with me

Running Scared is written in the bolero style and Orbison is credited with bringing this to the rock genre. Bolero music which has featured in this blog quite prominently possesses a romantic cadence and sophisticated lyrics dealing with love. Bolero music was born as a form of romantic folk poetry cultivated by a new breed of troubadour from Santiago de Cuba.

Here’s some interesting trivia information for you music aficionados out there from the Wiki reference: While Running Scared was an international hit, the B-side Love Hurts also picked up significant airplay in Australia. Consequently, chart figures for Australia show “Running Scared”/”Love Hurts” as a double A-side, both sides peaking at number five. This makes Orbison’s recording of “Love Hurts” the first version to be a hit. Love Hurts later became better known in a version by rock band Nazareth, who had an international hit with it in 1975.

References:
1. Running Scared (Roy Orbison song) – Wikipedia

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Lonely Child (2014) – Christina Perri

Lonely Child is from my favourite balladeer and troubadour Christina Perri. The song is the 9th track from her 2nd studio album Head or Heart and the 4th song to be presented here so far from that wonderful album. Following the whirlwind success of her debut album Lovestrong, Perri found herself grappling with the pressures of fame and personal turmoil.
Lonely Child is a hauntingly beautiful song which has such penetrative and poignant lyrics about a fleeting romance that went as fast as it came, but Perri’s on the attack here:
May your untamed heart stay restless running wild / ‘Cause you’re only, just a lonely, lonely child.

I love the enticing drum rhythm here not to mention how the song morphs into western music with that magnetic guitar which opens the Bridge. It’s Perri doing what she does best which is honing her art to blend raw emotion with haunting melodies. As a listener it puts you smack-bang into her thinking process and given dilema. It’s just fantastic songwriting. Below the original version (with Spanish subtitles) I have included a live performance of Lonely Child which opens with ‘Lollypop‘. While Lonely Child may not have achieved the same commercial success as some of Perri’s more mainstream hits, it has garnered my attention amongst other dedicated fans because of its emotional depth and relatable lyrics. It’s heaven for those who love Perri’s introspective style.

[Verse 1]
Just as fast as you came
Just as fast as the sunset
You pushed me away, you pushed me down
Down, down, down
Where my dreams lay
And just as quick as you left
Just as quick as you left my heart undressed
And I fell down, down, down, down
You took my wish back to the well
And I remember all the words that you said
That love is just a spark that starts in your heart
And ends in your head

[Chorus]
Darling, come down, come down
You’ll lose yourself in the clouds
Slow down, slow down
Your world’s spinning around
May your untamed heart stay restless running wild
‘Cause you’re only, just a lonely, lonely child

[Verse 2]
Just as dark as the night
Just as dark as the night
When I lost my mind, I lost control
Down, down, down
You let me sell my love for my soul
And I remember all the words that you wrote
That love is just a sound that plays in your heart
And gets caught in your throat

[Chorus]
Darling, come down, come down
You’ll lose yourself in the clouds
Slow down, slow down
Your world’s spinning around
May your untamed heart stay restless running wild
‘Cause you’re only, just a lonely, lonely child

[Bridge]
And I remember all the words that you said
That love is just a spark that starts in your heart and ends your head

[Chorus]

[Outro]
Cha-cha-cha!

References:
1. Head or Heart – Wikipedia

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Running on Love (1989) – Kenny Marks

I was runnin’ on loneliness
And now I’m runnin’ on love

I became familiar with the Christian singer Kenny Marks when a friend of mine ‘Eric’ lent me his cassette tapes in school. In no time I consumed a lot of Kenny’s music and even bought his greatest hits collection years later called ‘Absolutely Positively‘. I could reminisce the music I grew up with which included today’s featured track Running on Love. All of his songs had very strong and uplifting messages. I was baptised in the Uniting Church as a youngster, but the only time I went to church was with my Grandmother Dorothy Walton on holidays. Kenny comes from the Evangelical and Charismatic branches of the Christian tree having played for fellowship groups and at Billy Graham events.

I have made it no secret on this blog that I have a proclivity for ‘outreach’ Christian music and Kenny Marks is the first source I can remember listening to in a long line of Christian artists who have come along since and featured here including Hillsong, Michael W Smith, Elenyi and Marcela Gandara.

Today’s song ‘Running on Love‘ which comes from his Another Friday Night album (considered by many as his most enduring album) is an inspiring contemplation piece about the ineffable effect of being ‘reborn’ or ‘renewed’; letting go of self pity and unshackling oneself from the rim of the ‘wheel of life‘ by living in the centre, where according to Christians – Christ is said to be. ‘Christ is Love and the eternity of it’.

I was runnin’ on empty
I was runnin’ on fumes
I was runnin’ on desperately
‘Neath the cold dark moon
Now I’m runnin’ on tenderness
Thankin’ God above
I was runnin’ on loneliness
And now I’m running on love
I was runnin’ on loneliness
And now I’m runnin’ on love

I was runnin’ on heartache
I was runnin’ on pain
I was runnin’ on borderlines
In the cold hard rain
Now I’m runnin’ on happiness
Sunny skies above
I was runnin’ on loneliness
And now I’m runnin’ on love

Chorus…

Runnin’ on love
And love’s around me
In everything that I do
Runnin’ on love
And love surrounds me
‘Cause I ran into You, hey!

I was runnin’ on trouble
I was runnin’ on steam
I was runnin’ on bitternеss
Like you would not dream
Now I am runnin’ on faithfulness
Runnin’ hand in glovе
I was runnin’ on loneliness
And now I’m runnin’ on love

Chorus

Now I’m runnin’ on tenderness
Thankin’ God above
I was runnin’ on loneliness
And now I’m runnin’ on love
Runnin’ on love, hey!

Runnin’ on love, runnin’ on love x 4

Kenny’s bio reads: Kenny Marks, born Kenneth Michael Marks, November 6, 1950, Detroit, Michigan, has performed on 6 of the 7 continents world-wide over his music career. His family came from Yugoslavia with the surname Makrovich, but his parents changed to the name Marks when he was born.

Growing up in Detroit, Marks studied classical piano as a kid and learnt to play guitar when he was 15. He tried a group with some guys in high school, then went away to a university on the East Coast. Kenny Marks was one of the mainstay artists in Christian music from his debut album in 1982 ’til the end of the decade. Many of his songs were regularly in circulation on Christian radio and are still considered by many today to be CCM classics.

There is more music from Kenny Marks’ to come so we will dive a little deeper into his background and legacy in subsequent posts. Thanks for reading as always.

References:
1. Kenny Marks – Wikipedia
2. Kenny Marks Dies at 67 – GMA
3. Kenny Marks: Remembering the CCM star of the ’80s and ’90s – Cross Rhythms

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Runaway Train (2002) – Kasey Chambers

Runaway Train is the tenth song to appear here so far from Australian country music star Kasey Chambers. It casts my mind back to 2002 when I first heard her music. It was a hot summer day way back then and I was driving my car through Crib Point on my way to Hastings in South East Victoria, Australia and I turned on the ABC radio (which always hosted great non-commercial music like the Go-Betweens etc) and I heard….Am I not pretty enough from her classic Australian record – Barricades and Brickwalls. Today’s song Runaway Train also resides on that record which remains one of my favourite Australian albums.

Runaway Train in similar mode to the album’s title track has a steeped blues-country sound coursing through it. It’s a striking blend of raw emotion and country prowess. Below is a ‘no-nonsense’, but still fantastic version performed at the Telluride Bluegrass Festival (Colorado) in 2003. The way Kasey just stands there almost motionless and serves this gritty number up is hypnotic. Oh, and by the way, the guy on the left playing the red guitar is her father Bill Chambers. I saw Kasey a number of times in Melbourne after the release of what would become the highest selling Australian album in 2002. She was warm, loquacious and intimate with the audience.

I’ma gonna take you down to the railway line
I’ma gonna take you down to the railway line
I’ma gonna take you where your heart won’t brake you
And the water tastes like wine
I’ma gonna take you down to the railway line

We won’t take money, we won’t take the long way round
We won’t take money, we won’t take the long way round
We won’t take money, we’ll live off the honey
When the train goes underground
We won’t take money, we won’t take the long way round

I’ll drive faster, you hold tighter
I’ll get wild, you get wilder
I’ll make thunder, you make rain
We’ll go down to the runaway train

We’ll clear that track, we’re coming on down the line
Yeah clear that track, we’re coming on down the line
Yeah clear that track, they won’t take us back
Well they can stick it where the sun don’t shine
Clear that track, we’re coming on down the lin
e

Runaway Train is one of the singles from the album, along with Not Pretty Enough, On a Bad Day, Million Tears, and If I Were You. The music video for Runaway Train was released in 2009 and the song has also been performed live on various television programs, including the Australian variety television program “Rove [Live]” in 2001.

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Blowin’ in the Wind (1963) – Bob Dylan

It (Blowin’) has been described as a protest song and poses a series of rhetorical questions about peace, war, and freedom. The refrain “The answer, my friend, is blowin’ in the wind” has been described as “impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind”
– Mick Gold in “Life and Life Only: Dylan at 60” – Judas! magazine April 2002. p. 43.

Blowin’ in the Wind was the first song I remember hearing by Bob Dylan. I mistakenly found it thinking it was Donovan’s Catch the Wind which I had been searching after seeing the Wonder Years episode in which it appeared. You can read more about my ‘beautiful error’ in this article. I listen a lot less to Blowin’ now than I did in my formative years. The same could be said for a lot of Dylan’s early music, but songs such as these which I couldn’t listen enough to in my early teens instilled in me a certain a ‘world-view’ and enabled me to find meaning about my identity and existence and understand more clearly how the world ‘actually’ ticked.

Blowin’ is one of Bob Dylan’s crowning achievements as far as folk-protest music and spiritual anthems are concerned. It is also renowned as one of the greatest songs of all time in contemporary music; listed as No 14 on Rolling Stone magazine’s list of the “500 Greatest Songs of All Time“. Similar to what occurred with other significant songs created by Dylan in the 60’s, other groups including Peter, Paul and Mary would achieve considerably more commercial success with his material than he did.

Dylan originally wrote and performed a two-verse version of the song; its first public performance, at Gerde’s Folk City on April 16, 1962, was recorded and circulated among Dylan collectors. Shortly after this performance, he added the middle verse to the song. Some published versions of the lyrics reverse the order of the second and third verses, apparently because Dylan simply appended the middle verse to his original manuscript, rather than writing out a new copy with the verses in proper order.

[Verse 1]
How many roads must a man walk down
Before you call him a man?
How many seas must the white dove sail
Before she sleeps in the sand?
Yes, and how many times must the cannonballs fly
Before they’re forever banned?

[Refrain]
The answer, my friend
Is blowin’ in the wind
The answer is blowin’ in the wind

[Verse 2]
Yes, and how many years can a mountain exist
Before it is washed to the sea?
Yes, and how many years can some people exist
Before they’re allowed to be free?
Yes, and how many times can a man turn his head
And pretend that he just doesn’t see?

[Refrain]

[Verse 3]
Yes, and how many times must a man look up
Before he can see the sky?
Yes, and how many ears must one man have
Before he can hear people cry?
Yes, and how many deaths will it take till he knows
That too many people have died?

[Refrain]

In June 1962, the song was published in Sing Out!, accompanied by Dylan’s comments:

There ain’t too much I can say about this song except that the answer is blowing in the wind. It ain’t in no book or movie or TV show or discussion group. Man, it’s in the wind – and it’s blowing in the wind. Too many of these hip people are telling me where the answer is but oh I won’t believe that. I still say it’s in the wind and just like a restless piece of paper it’s got to come down some … But the only trouble is that no one picks up the answer when it comes down so not too many people get to see and know … and then it flies away. I still say that some of the biggest criminals are those that turn their heads away when they see wrong and know it’s wrong. I’m only 21 years old and I know that there’s been too many wars … You people over 21, you’re older and smarter.

References:
1. Blowin’ in the Wind – Wikipedia

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