| ? And The Mysterians – 96 Tears Lyrics | 4 years ago |
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This is from another web site: QUOTE:: "Various reports have suggested that Question Mark first wrote the song under the title "Too Many Teardrops" and then "69 Tears", but then changed the title, fearing that radio stations wouldn't play the song.[citation needed] However, Question Mark denied this in an interview, stating that the number 96 has a deep philosophical meaning for him." from https://en.wikipedia.org/wiki/96_Tears |
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| ? And The Mysterians – 96 Tears Lyrics | 4 years ago |
| @[rudie_cant_fail:35705] Garage band all right. The garage band I play with is learning this tune and you can't beat G to C7 over and over (except the Em to C middle which is also easy and cool.) | |
| The Rolling Stones – Let It Bleed Lyrics | 4 years ago |
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@[JumpyJack:35702] Belated reply copies from a different web site: Quote: ""Let It Be", of course, came first...... I believe that the Beatles and Stones having similarly titled songs was, in this instance, just a coincidence. Of course, there are many parallels between the Beatles and the Stones in the 60's, but most of that was the Stones following in the Beatles' footsteps. "Let It Be" was the far better song. "Everything we'd do, the Stones would copy four months later"-John Lennon Evan (original writer on ttps://forums.stevehoffman.tv/threads/which-came-first-the-beatles-let-it-be-or-the-stones-let-it-bleed.34254/ |
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| The Rolling Stones – Let It Bleed Lyrics | 4 years ago |
| @[Durango:35701] Belated "amen!" | |
| The Rolling Stones – Let It Bleed Lyrics | 4 years ago |
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The "coke and sympathy"line probably refers to the 1956 Vincent Minnelli movie "Tea and Sympathy" about a bullied schoolboy who is befriended by the coach's wife. She invites him for tea and it turns into an affair. The British are supposed to be prim and proper and Keith and Mick probably get a real kick out of twisting the "tea" reference, adding a wink to the unprim and improper affair with the older woman--and with a nod to their previous album's blockbuster "Sympathy for the Devil.".(And of course "tea" used to be a reference to pot, so there they go again, hinting that pot ain't enough now--you gotta go with cocaine.) BAD BOYS! This song is right up there with other Stones favorites: "Dead Flowers" "WiIld Horses", "Satisfaction", "It's All Over Now", "Honky Tonk Women",et al. Man, their first seven or eight albums were all masterpieces. Oh, and their "dreaming of a steel guitar engagement" might have been a reference to Keith's Gram-Parsons-coached infatuation with country music. Isn't this a great web site? Now I gotta go see what people are saying about "96 Tears" |
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| Bob Dylan – Sad Eyed Lady of the Lowlands Lyrics | 15 years ago |
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What everybody else said. Words flow so smoothly, amazing visions evoked, lots of nice alliteration and a wonderful recording. Love that simple hight-hat and tambourine throughout. Right up there with Visions of Johanna. |
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| Bob Dylan – Visions of Johanna Lyrics | 15 years ago |
| Yikes. Just noticed it hasn't been two years since someone posted... I musta been on the wrong page. | |
| Bob Dylan – Visions of Johanna Lyrics | 15 years ago |
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Wow. Over two years since someone posted about the greatest love song ever written. But lots of good stuff here in these posts makes me want to add my impressions. First let me say that not understanding the literal meaning of every line does not detract from the power and resonance of this epic. Like a lot of great poetry (Neil Young songs!) a lot is left to the audience's imagination so that it can be more universal; but from Dylan's sombre delivery it's obvious that Visions of Johanna is basically just that age-old story about a guy tormented by memories of his idealized lost love. He finally starts to realize she's only human, but that doesn't stop the suffering and emptiness. Simple story, but what a mind-boggling path Dylan takes in telling us that story. Like many poems it goes verse by verse from the specific to the general. The first verse sets the scene, the tone, both with words and with the utter resignation in Dylan's voice. Night. Quiet. There with someone he doesn't really care to be with. They're alone together. His mind starts playing "tricks" him, bringing these odd visions into his head (as often happens when balancing on the edge of sleep.) "We sit here stranded though we're all doing our best to deny it, and Louise holds a handful of rain tempting you to defy it." Rain metaphorically means trouble, ("A Hard Rain's a-Gonna Fall", "Who'll Stop the Rain", etc.) She is telling him that life is just trouble, sadness, and he is wondering, hoping she's not right. Apparently they have talked about their outlooks. The next few lines capture our senses to more fully experience the scene, to make it real. Lights flicker (sight), the heat pipes (temperature, moisture), the country music (sound). "There's nothing, really nothing, to turn off" just speaks to the dullnesss he is feeling--he hears the radio but it's not registering at all, so why bother to get up and turn it off? The line "these visions of Johanna that conquer my mind" reminds me of Van Morrison's "and I'm conquered in car seat and there's nuthin' I can do" from Astral Weeks--the idea of giving up as having been "conquered" (emotionally). Makes it sound like your heart's been overrun by Barbarians or some unstoppable force over which you had no control and are therefore not responsible. The second verse expands the playing field. It's not just the quiet bedroom, it's spreading our view out to the rest of nightime New York--the all night girls, the long empty subway tunnels, the night watchman in the deserted city streets. Then he comes briefly back to the particular..."But Louise she's all right she's just near..." In the third verse I like the idea of "Little Boy Lost" being Johanna's new lover. (I never made that connection til I read it here.) Dylan's delivery of "How can I explain, it's so hard to get on" is so heartfelt; he is telling us that *this* is the point of the whole song! Verse four, the Museum verse, takes our view even wider--from the tiny room, to the big empty nightcity, to thoughts of infinity (and eternity?) Here, falling deeper into his dreamstate, Bob has a little fun with a bad situation. I don't remember where I read this, but I agree that the Mona Lisa thing is a bunch of insider jokes and wild connections. First, Mona is the "primative wallflower", frozen there with her little smile (for 500 years!) because of the way she was treated or looked at by all the "jelly-faced women"--a variation on the theme of high society women looking down on the lowly commoner. (In his current sad state, Dylan could easily relate to being sensitive to condescending stares--real or imagined.) Next he refers to the famous pop art painting where Salvadore Dali put a big mustache on the Mona Lisa as if it were grafitti. Mona ("the one with the mustache") can't find her knees because the painting is just from the waist up! And the next line where "jewels and binoculars hang from the head of the mule" refers to the album cover of The Rolling Stones "Get Your Ya-Ya's Out" where the Stones are walking next to --yes-- a mule with jewels and binoculars hanging around his neck! (Which came first? Was Dylan giving a nod to the Stones' then-recent album or did the Stones pick up on a completely whacky line by Dylan and give *him* a nod??? The last verse is a few lines longer than the other verses just to add finality to it. He is the peddler (trying to "sell himself" back into the worshipped countess Johanna's graces) while Louise is trying to disparage Johanna "as she herself (Louise) prepares for him (Dylan)". A strange relationsip "dance", but there is no fiddler to pay because he says "everything's been returned which was owed". Johanna is Madonna (the ivory tower Mother of God, *not* the 80's singer/dancer) finally being taken off her pedestal and finally starting to be seen by Dylan as a real person-- "we see this empty cage now corrode".... And that final "fish truck" line? All I can think of is that a girl I knew in college said there is an old Three Stooges episode where they are riding in the back of a fish truck throwing fish at everybody they pass. I can only imagine that Dylan also liked the Stooges! 'Nuff said. |
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