| Jill Scott – Rolling Hills Lyrics | 8 months ago |
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"Well, well, well, well, well, well, well Maybe you don't recognize what you got between ya thighs (well) So I'm gonna set you right and I'm starting here tonight well (well)" Tsk tsk. Time to listen and learn everyone. "Shine like the moon and strong like the sea (well) More expensive than money, more valuable than anything (well) Juicy mango summer peach (well) Make a lame man walk and a full man hungry well (well)" Be what's bright about times spent in the dark. Be uncatchable like water. And you'll have all the worth and resilience anyone could ever need. "And if you don't know what I'm saying then baby I'm telling you There's power in them rolling hills, come on" Here it is again, simply. Unsheathed, you rule. "You're a prize possession, not everybody's worthy Only reason I know is 'cause I headed down that road And it'd be a shame for you not to have your own glow c'mon (well) Well, well, well, well (well)" Opening up was scary for me and it was hard to get right... which is how I know it was the right thing to do. "Maybe you don't recognize what you got between your eyes (well) So I'm gonna set you correct so you can get what (well) You should get yea, intuition's something sweet (well) Let you know what you know, let you find before you seek (well) Spirit of discernment, pray for it everyday (well) Let you know who should go and who you should let stay (well) And if you don't know what I'm saying then baby I'm telling you (well)" You can trust yourself to know what to do even when experiencing new things. Don't doubt the voice wothin. "There's power in them rolling hills, come on (well, well) You're a prize position, not everybody's worthy (well, well) To fell only reason I know is cause I headed down that road (well, well) And it'd be a shame for you not to have your own glow (Well, well)" Choosing who gets access to your private world means you're the boss and you're thank the lord, you're the best possible judge of who's getting in. "There's power in them rolling hills (well, well) Come on, you're a prize possession not everybody's worthy (well, well) Only reason I know is 'cause I headed down that same road I wanna see you grow, I wanna see you glow I wanna see you shine, I mean all the time Gotta let that light, gotta let it shine so bright Maybe you don't recognize There's power in them rolling hills, yeah" Go. Choose. Live. Learn. Try. Feel. Share. Strengthen. Improve. Experience. "You're a prize possession, not everybody's worthy Only reason I know is I headed down that road And I wanna see you grow, I wanna see you glow Glow, glow, I wanna see you glow There's power in them rolling hills Power in them rolling hills" Everyone WILL want you if you believe it first. Nobody's perfect right away. Just believe you can do it your own way, at your own pace and you will! Acting confident will equal being confident the moment you truly trust yourself doing what you want and being who you are- anywhere you go. It wasn't *poof* you're a star now. You are not some electronic strobe light that either functions or does not; you are a glow-worm-turned-butterfly-of-light that breathes and manifests undeniable, undefinable wonderment! It was a gradual change every day you lived your life on the path that was right for you instead of stagnating in fear. So shine on! Be the light in the dark parts of your life's path! Turn on those rolling hills and all who see... will be turned on too. |
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| Joanna Newsom – Good Intentions Paving Company Lyrics | 1 year ago |
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"Twenty miles left to the show Hello, my old country, hello Stars are just beginning to appear And I have never in my life before been here And it's my heart, not me, who cannot drive At which conclusion you arrived Watching me sit here bolt upright and cry For no good reason at the Eastering sky" --When the song starts I always picture Joanna in her car with the top down and her scarf blowing in the wind, finishing up a tour loop around America... on her way back to California for her final show... giddy AF and hella proud of herself for "making it"... happy tears in her eyes... and she speeds past a "20 miles to ___" sign... and her heartbeat accelerates... and a devil may care smile lights up her face like the mood LEDs of a fancy, modern dashboard. "Stars just beginning to appear" is her new life amongst celebrities. "And the tilt of this strange nation And the will to remain for the duration Waving the flag Feeling it drag Like a bump on a bump on a log, baby Like I'm in a fist fight with a fog, baby Step-ball-change and a pirouette" --She recognizes her new dawn is not necessarily the rest of her country's and professes shame instead of pride at all that it means "to be an American", so even though she patrioticslly sports "the flag", in HER hands it is NOT a high-flying thing. And she feels powerless, despite her stardom... but perhaps not necessarily defeated. "And I regret, I regret How I said to you, "honey, just open your heart" When I've got trouble even opening a honey jar And that right there is where we are..." --This is great. A piece of writing that admits something is so much more beautiful than one that accuses something. (Be the light). She knows her insights are faulty... and accepts the limitations of her perspectives/influence. "And I been 'fessing double fast Addressing questions nobody asked I'll get this joy off of my chest at last And I will love you 'til the noise has long since passed" --Being honest with herself is the wellspring of therapy her weak moments have left her yearning for. She makes music (a sort of talking-to-herself catharsis). And she is determined to forgive "the strange tilt of her nation" the same way she is deciding that she can forgive her own strangenesses... to make room for a brighter, more love-filled life. It might just be the endorphins that release when you are "nearing your destination after a long journey away from home", but what the heck's wrong with a song about good travelling vibes erasing all the pent up worries/uncertainties established at the onset? "And I did not mean to shout, just drive Just get us out, dead or alive A road too long to mention, lord, it's something to see! Laid down by the good intentions paving company All the way to the thing we've been playing at, darlin' I can see that you're wearing your staying hat, darlin' For the time being all is well Won't you love me a spell?" --She is apologizing for letting the overall doom/ick of the political state of the world compounded by a past of being accustomed to leading a single life, the weight of having to race to keep up with a fluctuating work-load and the undeniable rage of being stuck behind a wheel for thousands and thousands of miles of roadways... get to her. The roads themselves were built out of intelligent, sensible necessity... and their pavers, were of genuine intent. The song is about the hellish wanderlust of the human heart. We gradually drift away from the things we set out to do. Misalignments are inevitable. And forgiveness is divine. She is also directly taking about the love of her life "wearing his staying hat" and "loving her a spell": if HE loves her... then THAT'S enough (to be fueling actual smiles). "This is blindness beyond all conceiving Well, behind us the road is leaving, yeah, leaving And falling back Like a rope gone slack" --The sheer concept is grossly and inapplicably vague. Most paved roads are not maintained by the tradesmen who created them initially. Intentions are real but they are not visible (or permanent). A rope that has "gone slack" is no longer being held up at its other end... but THAT difference IS visible. She is saying that starting something right is not enough to keep it on track... it has to be at LEAST as understanding as it is self-aware... at regular intervals... to continue to enable necessary change yes, but also to specifically ensure a polarity of growth. "Well, I saw straight away that the lay was steep But I fell for you, honey, as easy as falling asleep And that right there is the course I keep..." --So despite her obstacle (of being truly happy, and not just intending to be) she is determined to ride on with the fortunate acceptance of companionship. And perhaps even a hand (or two) that can essentially help hold up the other end of the rope of her mental stability... so that together they can reevaluate not WHERE they're going but HOW they're going there. "And no amount of talking Is going to soften the fall But, like after the rain, step out Of the overhang, that's all It had a nice a ring to it When the ol' opry house rang So with a solemn auld lang Signed, sealed, delivered, I sang" --Falling into what she has validated as real love is definitive for her. She has crossed the threshold (so to speak). She's adapting and discovering the beat of her new life (and new life partner). It has morphed a bit, but it is still melodic. "And there is hesitation And it always remains Concerning you, me, And the rest of the gang And in our quiet hour I feel I see everything And am in love with the hook Upon which everyone hangs" --Doubt exists unquantifiably even when it isn't actionable. People who aren't still with their first-ever significant others... have exes. She wishes the best for the people whose ropes she has let "go slack" by acknowledging another force ("the hook" that "holds them up") in her absense. And she professes a love for the [whatever it is that keeps "the rest of the gang" afloat]. Doesn't that just humble you to smithereens? "And I know you meant to show the extent To which you gave a goddang You ranged real hot and real cold but I'm sold I am home on that range" --She is waving off the janky, animal parade of humans "proving" the purity of their intentions with (and to) one another. She is buying whatever he is selling, "for better or for worse", as they say. "And I do hate to fold Right here at the top of my game When I've been trying with my whole heart and soul To stay right here in the right lane But it can make you feel over and old Lord, you know it's a shame When I only want for you to pull over and hold me 'Til I can't remember my own name" She's no longer a player in the game of love... because even though she fancied herself astute at it... she was a regular of "the right lane" (which is the slow lane here in America). She maturely admits to feeling like a grown-up despite a subtle memory of bygone intent to perhaps remain true to feeling young at heart forever. She's done looking for someone who isn't her husband. She wants to be figuratively in his arms for the rest of her days. So stinking sappy-- I love it! |
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| Nick At Nite – Welcome Christmas [From How the Grinch Stole Christmas] Lyrics | 4 years ago |
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This is merely an interpretation from a writer's perspective (a writer who specifically writes children's rhyme and often invents words poetically and understands using unexplained cultural lingo out of the necessity of remaining true to the settings of the otherworldly places he invents)... fahoo = the words "father" and "Who" smooshed together. Instead of saying "my dad raised me", if you were a Who you might instead (more formally) say "my fahoo raised me". fores = forest. Commonly disregarded merely as mock-latin meant to sound sing-songy (but otherwise meaningless). l, however, think of this one as how a foreign country's derivative of the French language's "la forét" (or English's "Forrest") might be re-spelled by a culture that has never heard the word used as a name before. Fahoo Fores = father of the forest. After considering how the song feels so much more like a hymn than a song, I wouldn't doubt that Fahoo Fores is, indeed, a religious moniker meant for guiltless referencing of The [mythological] Lorax (Seuss's titular tree spirit who literally introduces himself by saying that "[he] speak[s] for the trees") with the extreme reverence of not undermining his true name, "Lorax" in vain over usage (the way a song might) accidentally. Although, within a song about "Christmas" sung by Who's with plenty Who-morality, sure, but no directly equivocal "Who-Christ" of their own... my tendency is to compare Seuss's Fahoo Fores to our own universe's idea of our legend of Adam who grew up in a forest (of sorts). And yes, I do mean "The" Adam, of "The" Adam and Eve, from "The" Bible's Book of Genesis. dahoo = the words "daughter" and "Who" smooshed together. dores = gift. This one closely reminds me of the similar sounding Scottish name, Doris, meaning giving one, and Latin's near-match, Deloris, meaning sorrows. Dahoo Dores = fruit of the forest. This must be another given name of a widely known female Who among Whos (perhaps even a dahoo of The Lorax). Maybe there's a linguistic link to her specific relevance here; the materialistic imagery of Cindy Lou (the youngest dahoo of dahoos) wondering about the disappearance of her family's tree when she catches the grinch stuffing it up the chimney could be a clue. Maybe Dahoo Dores is The Whovian Eve (our bible's original sinner). She could also be either of Adam's daughters (who came after Cain and Abel; Awan or Azura). ramus = ruler. The German Raginmund that became English's Raymond is a name that means: mighty, protector and counselor. Fahoo Ramus = first mayor of Whoville. A renowned, trustworthy Who. I guess that he was the first noteworthy mayor of record-worthy Who-lore. damus = daring one. This one was tough. There's the Greek "Damaris" meaning dominant, the French "Damia" meaning untamed and the Hindi "Dakshayani" meaning competant. Dahoo Damus = the first mayor's daughter. She was most guessably a brave and noteworthy dahoo of Fahoo Ramus, memorable enough to make it into the final versions of "Welcome Christmas". |
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| Boris Karloff – Welcome Christmas Lyrics | 4 years ago |
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This is merely an interpretation from a writer's perspective (a writer who specifically writes children's rhyme and often invents words poetically and understands using unexplained cultural lingo out of the necessity of remaining true to the settings of the otherworldly places he invents)... fahoo = the words "father" and "Who" smooshed together. Instead of saying "my dad raised me", if you were a Who you might instead (more formally) say "my fahoo raised me". fores = forest. Commonly disregarded merely as mock-latin meant to sound sing-songy (but otherwise meaningless). l, however, think of this one as how a foreign country's derivative of the French language's "la forét" (or English's "Forrest") might be re-spelled by a culture that has never heard the word used as a name before. Fahoo Fores = father of the forest. After considering how the song feels so much more like a hymn than a song, I wouldn't doubt that Fahoo Fores is, indeed, a religious moniker meant for guiltless referencing of The [mythological] Lorax (Seuss's titular tree spirit who literally introduces himself by saying that "[he] speak[s] for the trees") with the extreme reverence of not undermining his true name, "Lorax" in vain over usage (the way a song might) accidentally. Although, within a song about "Christmas" sung by Who's with plenty Who-morality, sure, but no directly equivocal "Who-Christ" of their own... my tendency is to compare Seuss's Fahoo Fores to our own universe's idea of our legend of Adam who grew up in a forest (of sorts). And yes, I do mean "The" Adam, of "The" Adam and Eve, from "The" Bible's Book of Genesis. dahoo = the words "daughter" and "Who" smooshed together. dores = gift. This one closely reminds me of the similar sounding Scottish name, Doris, meaning giving one, and Latin's near-match, Deloris, meaning sorrows. Dahoo Dores = fruit of the forest. This must be another given name of a widely known female Who among Whos (perhaps even a dahoo of The Lorax). Maybe there's a linguistic link to her specific relevance here; the materialistic imagery of Cindy Lou (the youngest dahoo of dahoos) wondering about the disappearance of her family's tree when she catches the grinch stuffing it up the chimney could be a clue. Maybe Dahoo Dores is The Whovian Eve (our bible's original sinner). She could also be either of Adam's daughters (who came after Cain and Abel; Awan or Azura). ramus = ruler. The German Raginmund that became English's Raymond is a name that means: mighty, protector and counselor. Fahoo Ramus = first mayor of Whoville. A renowned, trustworthy Who. I guess that he was the first noteworthy mayor of record-worthy Who-lore. damus = daring one. This one was tough. There's the Greek "Damaris" meaning dominant, the French "Damia" meaning untamed and the Hindi "Dakshayani" meaning competant. Dahoo Damus = the first mayor's daughter. She was most guessably a brave and noteworthy dahoo of Fahoo Ramus, memorable enough to make it into the final versions of "Welcome Christmas". |
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| Joanna Newsom – Sawdust and Diamonds Lyrics | 5 years ago |
| @[chairry:29065] Very good interpreting! | |
| Joanna Newsom – Sawdust and Diamonds Lyrics | 5 years ago |
| @[TheLaurenTree:29064] I love this interpretation! | |
| Joanna Newsom – Clam, Crab, Cockle, Cowrie Lyrics | 11 years ago |
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Love the bomb! Ultra destruction not just to itself, but to all surrounding life as it has been known. And yes, her adverb saves the day like a heart that beats: Ka-boom, ba-boom, ba-boom, ba-boom... Good call ;) |
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| Toad the Wet Sprocket – Walk On The Ocean Lyrics | 11 years ago |
| This is the only comment by someone even remotely listening to the song in question. | |
| Joanna Newsom – Clam, Crab, Cockle, Cowrie Lyrics | 12 years ago |
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That means no where I come from (This first sentence seems to be the theme of the entire song; the realization that a relationship is ending. I'd call this part a response to the feeling of being rejected, or perhaps to being regarded without passion over time; though I think it's a snapping comeback to an uncommitted lover who speaks in maybes, "where [SHE] comes from" meaning "from a higher understanding", only sassier.) I am cold, out waiting for the day to come (she doesn't take this omen of failure lightly so she waits bitterly, she waits restlessly, perhaps even a little terrified but still unsheltered from that inevitable final page) I chew my lips, and I scratch my nose, feels so good to be a rose (She entertains her anxious self, these are the things you do when you're left to your thoughts for hours at a time [when you're as still as a flower]. The rose reference is preempting the idea of no longer being held, noting the undisputed beauty of a thing covered in thorns. She is consoling the part of herself that's going to miss the affection that comes from a treasured lover. Of course it feels good to be a rose, honey) Oh don't, don't you lift me up like I'm that shy, no no no no no, just give it up (The ball has dropped, at this point I see her crumbling and trying not to crumble at the same time. I see her refusing the sympathy hug they always try to give after you get dumped. It hurts, but nobody prefers that god-awful pity.) There are bats all dissolving in a row into the wishy-washy dark that cannot let go (Here is an image of something disappearing into the distance. Once again, the reference of bats specifically is preempting the time change from night to day [bats being nocturnal something must be up, bedtime maybe?]. The view has her hypnotized. She is deliriously unhappy to see this person leave but she can not look away.) and I cannot let go, so I thank the lord and I thank his sword though it be mincing up the morning, slightly bored (Here is where it gets a little complex... her thoughts are clearly stuck on what has happened but it's worse than sadness, she is resorting to bargaining via prayer, sarcastically perhaps because she practically blames Him before she praises Him by referencing his effortless cruelty. I relate. I hate that I relate but I relate.) O, morning without warning like a hole and I watch you go (The light of the sunrise catches her off guard. She attributes a weightless feeling to her last glimpse of his departure from her life. [You would too.] It's probably comparable to something like standing on a trap door as it opens below you, having your familiar perspectives drastically ripped away from you). There are some mornings when the sky looks like a road (This isn't a fork in a road she's already travelling. This is a brand new road laid out before her, like it or not. I call this road "The Alone Again Road". She is at the very beginning of one of these roads. The sky probably looks like other things on other occasions too.) There are some dragons who were built to have and hold (Now I imagine she is again coming to her own rescue with positive reinforcement. Maybe I'm biased because I have a stuffed animal dragon named Snarl and I love him. But I still think this is a variation of the old "fish on the sea" expression... only more unique because of the actual unlikelyhood of there being a dragon. Period. Could it just mean that there ARE people out there who want commitment?) And some machines are dropped from great heights lovingly (I think of the vague imagery of "machines" as being a metaphor for technology in general. I think dropping them from "great heights" is an act of destruction. I think she admires people who value nature, and as much as it seems out of place.. it's the adverb "lovingly" that brings us back. What I take from this line is that there are people who would sacrifice their modern trinkets for love.) and some great bellies ache with many bumblebees and they sting so terribly (In this line I hear more about the types of people who exist out there as she continues to console. People with great bellies have probably stomached a lot of terrible things but that doesn't mean they don't suffer in their own hidden ways just the same.) I do as I please. Now I'm on my knees. Your skin is something that I stir into my tea (These first two sentences hit me like a proverb: first you act selfishly, then you pay a price. I picture her sobbing as she literally collapses and begins begging, wishing she had done things differently. Her vocal argument is that this person's flesh was something she took pleasure in regularly. This person is what sweetened her life.) And I am watching you and you are starry, starry, starry (I know she keeps telling us that she can't let go [or even look away] like it's a chorus... but this time it really cuts deep. Think of being drawn to something as far away as a starry night. And how depressing it is to lose yourself in something you can never touch.) and I'm tumbling down, and I check a frown. (Aha! Here she even admits her devastation, so strong that she finishes the rest of the song from the ground. These words are all crying words but she's a trooper. She presses on.) Well, just look around, it's why I love this town (Re-read almost any part of the song so far, her very rich surroundings help to keep her in check now that she's eating dirt. Life everywhere, a very vocal sky above and an ocean beach nearby... I love this town too!) just see me serenaded hourly! celebrated sourly! dedicated dourly; (Maybe she's still surveying her surroundings.. a cuckoo clock might be something that serenades her hourly, something citrus paired with something alcoholic could help her be celebrated sourly... and, aww... being in love with someone who's left for good can easily leave anyone dedicated dourly.) waltzing with the open sea: Clam, crab, cockle, cowrie (Here it is, a crabby shellfish parade for which the song is named. Happy, unnoticed creatures that get along just wonderfully being small and living alone. How true.. how awesome.. how, ok it's terribly dark and sad to compare oneself to seafood in the midst of the already lowered self-esteem from recent betrayal. But the tears aren't far.) will you just look at me? (This one kills me. A prayer of desperation, of panic, and of such little gain even if answered. Can you imagine drowning [in sorrow] and all you ask for is someone to glance over? It's petty, it's meek, it's... understandable attention-mongering. However, wanting to be noticed should not be mocked. On a scale versus nothing, validation wins every time. Then again, you know what they say about giving cookies to mice.) Woh whoa oh oh woh oooh, ooh oh woh oooh, ooh oh woh oooh (Told ya the waterworks were coming. Go on girl, sing those tears out.) (This song rips my heart out. But let me finish by saying that I could have interpreted this song a few other ways too: "saying goodbye to someone who is dying", "re-emerging from a reclusive sabbatical", "subtle examples of discovering God in nature"... but, because of this indeterminate versatility, it suits me any day of the week. And I relate to that too.) |
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