Am F
If you feel you wanna fight me,
C G
There’s a chain around your mind.
When something is holding you tightly,
What is real is so hard to find.
Losing babies to genocide,
Oh, where’s the meaning in that plight.
Can’t you see that we’ve really bought into
Every word they proclaimed and every lie, oh…
CHORUS 1:
Am C C F F C
If we could only get out of our heads, out of our heads,
G
And into our hearts…
If we could only get out of our heads, out of our heads,
And into our hearts…
Someone’s feeding on your anger.
Someone’s been whispering in your ear.
You’ve seen his face before;
You’ve been played before.
These aren’t the words you need to hear.
Through the dawn of darkness blindly,
You have blood upon your hands.
All the world will treat you kindly,
But only the heart will understand, oh understand…
CHORUS 2:
If we could only get out of our heads, out of our heads,
And into our hearts….
Children of Abraham, lay down your fears, swallow your
tears, and look to your heart.
(repeat CHORUS 2)
Every man is his own prophet,
Oh, every prophet just a man.
I say, all the women stand up, say yes to themselves;
Teach your children best you can.
Let every man bow to the best in himself;
We’re not killing any more.
We’re the wisest ones, everybody listen,
‘Cause you can’t fight this feeling any more, oh, any more…
CHORUS 2 (repeat)
End on:
Am
Ohhhh….
** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **
It was definitely one of those “clouds parting” kind of Chris Moore Mondays for me.
First of all, I should clarify that “Chris Moore Mondays” is the title we use around here to remind you all that it’s my job to post a great cover song music video for you each and every Monday evening. Next, I should explain the “clouds parting” aspect. Well, I woke up around 5:30 this morning and was having serious difficulty getting myself out of bed. Then, I noticed I had an email from bobdylan.com.
Long story short, I had woken up to find the link to a free download of the new, unreleased Bob Dylan track “Beyond Here Lies Nothin.'” It will be track one on his upcoming album, Together Through Life, to be released on Tuesday, April 28th. Sorry, Jim — this means that your birthday the following day is going to be something of an anti-climax. 😉
In all seriousness, this is an exciting bit of New Music Tuesday news. After all, there were five years of separation between 2001’s Love and Theft and 2006’s Modern Times. Now, it’s been less than three years and there’s a new release. Based on the first track alone, I couldn’t be more excited. It’s a pretty simple song — only three chords and a basic verse, chorus, repeat structure with a few instrumental breaks thrown in and a classic Dylan chorus style in which the lines in each chorus are slightly different. I wasn’t sure what to think of the lyrics at first, but they’ve really grown on me today as I’ve listened to the song repeatedly and learned to play it. I’m still not sure what to think of lines like “The whole world is my throne” or “And every window’s made of glass.”
The conclusion I’ve come to is that this is a deceptively simple song. In the beginning of the song, Dylan sings of a lover in terms that express fairly standard love-song mentalities. Still, by the end of the track, he compares himself to a ship in harbor with the sails up. This implies that the ship is about to leave harbor, or perhaps that he is ready to move on to something — or someone — new. And yet he goes on to tell his lover that she should lay her hand upon his head. In typical Dylan fashion, even a love song has darker overtones, as played out in the chorus lines. The choral sections really are my favorite lines. “Beyond here lies nothin,'” he sings, “But the mountains of the past” or “Nothin’ done and nothin’ said.” There is simply nowhere else he would rather be than where he is, as he acknowledges that there is nothing “beyond here.” The questions, of course, are 1) where is “here”? and 2) does he really want to be “here” or are there simply no better options?
As I mentioned, it’s a fairly simple song. Even I was able to figure it out in short order. It’s three chords — Am, Dm, and E — easily within my register with an uptempo beat. It’s actually caused a bit of a debate among Dylan fans who have disagreed over the use of accordion in the song and the state of Dylan’s vocal abilities. As far as I’m concerned, the instrumentation is excellent, raw and loose but very intentional and fitting, accordion or no accordion. As for Dylan’s voice, I read one user’s take on the fansite expectingrain.com. He essentially said that Dylan’s vocals have deteriorated even more than they had on Modern Times. My reaction is simple:
Really?
I mean, if you’ve followed Dylan over the past decade and enjoyed Time Out of Mind or the aforementioned two albums, then you know that his gritty vocals are fitting. He may not stand a chance on American Idol, but I’m not so sure that’s a bad thing! Another post that I read made a great deal of sense. This user basically argued that Dylan’s vocals on studio recordings and during live performances should be weighed separately. I agree with this — while his vocals may be a bit difficult to understand and follow in concerts at times, his studio recordings haven’t failed to impress me — including vocals, instruments, etc.
Needless to say, I hope you enjoy my take on this brand new Dylan song. If you’re a guitarist, you should check out my chords and lyrics (see the link above) and have fun playing it yourself. And, without further ado, I wish you a good night and a great week…
Hello and welcome to another week of rock’n’roll related intrigue at the Laptop Sessions acoustic cover song music video blog! This is an exciting time for the blog, as we have consistently been pumping out more quality material for you than any time since the session-a-day project ended. This week, for instance, you can look forward to your typical Monday and Tuesday excellence in cover song music video form, a final Jimi Hendrix-themed edition of “Yes, No, or Maybe So, Retro,” two more installments in the “Top Five Rock Artists of the Decade, 2000-2009” list, a Guest Session on Friday by an all-new contributor (bringing back an oft-covered band), AND it’ll all be tied up by a full length Weekend Review on Sunday.
Not bad for a free blog…
Tonight, I bring you “Wilted Rose,” a song from the Vanity Project’s 2005 self-titled debut release. For those of you unfamiliar with the Vanity Project, this is the title of former Barenaked Ladies co-frontman Steven Page’s solo album. Well, it’s not technically a solo album in the strictest sense of the term, but for all intents and purposes, The Vanity Project is a Page solo album populated mainly by collaborations with Stephen Duffy. Page and Duffy have been swapping lines and tunes for years, and many of their co-written efforts have been recorded by the Barenaked Ladies. Here, Page is able to record those songs that simply weren’t a clear fit for the Barenaked Ladies.
I couldn’t believe one of us hadn’t already recorded this song for the blog — after all, it was included in the official MoU chordbook, even though it was only a rare live track. In addition, this is the right time to have Steven Page on the brain, as the first of two Page solo efforts is due in stores tomorrow. Now, tomorrow’s release is the less-anticipated A Singer Must Die, a collection of ten cover songs performed with the Art of Time Ensemble. Although I’m much more interested and excited for his first solo album proper, Page certainly picked out some interesting tunes to cover — the title track from Leonard Cohen and “For We Are the King of the Boudoir” by the Magnetic Fields to name a couple. Some of his other choices boggle my mind — why re-record “Running Out of Ink” so soon, for example? Or why attempt an Elvis Costello deep track like “I Want You” when Fiona Apple’s cover version is already the quintessential take on it?
Overall, I can’t imagine quite what this album will sound like, but I’m very excited to hear it. There’s only one problem: even Newbury Comics didn’t include it on their “new releases” list.
You know your release is under the radar when not even Newbury Comics is aware of its existence.
I honestly would have pre-ordered it to get it complete with Page’s autograph, but I couldn’t see spending the full price of the CD plus a considerable fee for shipping and handling. Thus, I’ll need to get creative and soon!
Until you get a chance to listen to (or even find) A Singer Must Die, I hope you enjoy my music video of the night.
E C E
There’s a light… when my baby’s in my arms;
There’s a light… when the window shades are drawn.
Hesitate… when I feel I may do harm to her…
[Wash it off…] ’cause this feeling we can share.
E C D – A E
And I know she’s reached my heart… in thin air.
Byzantine… is reflected in our pond;
There’s a cloud… but the water remains calm.
Reaching in… the sun’s fingers clutch the dawn to pass;
Even out… it’s a precious thing to bear…
And I know she’s reached my heart… in thin air.
Yes, I know she’s reached my heart… in thin air.
E F C G
It’s not in my past to presume…
G D A
Love can keep on moving, in both directions.
F C G
How to be happy and true…
G D A
Is the quest we’re taking on together…
E
Taking on… on, on, on…
Taking on… on, on, on on, on.
There’s a light… when my baby’s in my arms…
And I know she’s reached my heart… in thin air.
And I know she’s reached my heart… in thin air.
Yes, I know she’s reached my heart… in thin air.
E C A – E
Yes, I know she’s reached my heart…
** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **
