Micro to the Macro: What’s Your Favorite Song Lyric

Posted on November 6, 2009. Filed under: Blog | Tags: , , , , |

Many moons ago, I posted my favorite single line of song lyric and asked people to share theirs. Now we move from the micro to the macro! My question: what is your favorite song lyric?

To clarify: I’m not asking for your favorite song necessarily but what song you think has the best lyrics considered as a whole — as opposed to a line or two from the song. For example, the music might be total ass but all the words taken together could be awesome.

I choo, choose Suzanne by Leonard Cohen

Suzanne takes you down to her place near the river
You can hear the boats go by
You can spend the night beside her
And you know that she’s half crazy
But that’s why you want to be there
And she feeds you tea and oranges
That come all the way from China
And just when you mean to tell her
That you have no love to give her
Then she gets you on her wavelength
And she lets the river answer
That you’ve always been her lover

And you want to travel with her
And you want to travel blind
And you know that she will trust you
For you’ve touched her perfect body with your mind.

And Jesus was a sailor
When he walked upon the water
And he spent a long time watching
From his lonely wooden tower
And when he knew for certain
Only drowning men could see him
He said “All men will be sailors then
Until the sea shall free them”
But he himself was broken
Long before the sky would open
Forsaken, almost human
He sank beneath your wisdom like a stone

And you want to travel with him
And you want to travel blind
And you think maybe you’ll trust him
For he’s touched your perfect body with his mind.

Now Suzanne takes your hand
And she leads you to the river
She is wearing rags and feathers
From Salvation Army counters
And the sun pours down like honey
On our lady of the harbour
And she shows you where to look
Among the garbage and the flowers
There are heroes in the seaweed
There are children in the morning
They are leaning out for love
And they will lean that way forever
While Suzanne holds the mirror

And you want to travel with her
And you want to travel blind
And you know that you can trust her
For she’s touched your perfect body with her mind.

Why do I admire these lyrics? I love when art is both personal and universal, subverts and re-articulates our expectations and conventions, and uses structure to convey or support meaning. All of this happens in these lyrics.

At the beginning, this song seems to be a poignant but quirky love song. By the end, it subverts that expectation and, at the same time, the cultural trope that man equals mind and woman equals body.

It does this with a beautiful revisioning of the Jesus narrative: arguably, the most important account of the union of body and spirit in Western culture.

Structurally, the Jesus stanza operates in this song the same way Jesus himself is meant to operate in human history: as the bridge between body and spirit and as the vehicle to a new covenant with God.

Furthermore, the comparison with Jesus transforms Suzanne from a crazy-woman-novelty-fuck into a quasi-prophet-soulmate. This in itself is a commentary on how men and women come to love each other.

Ack. If I start parsing individual lines,  I could go on and on. So I will stop here.

Please, what is your favorite complete set of lyrics and why? Please post the lyrics in question as well

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15 Responses to “Micro to the Macro: What’s Your Favorite Song Lyric”

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Sterling, I love that song. It always makes me think of a certain man who, many moons ago, introduced me to Leonard Cohen’s early work. It evokes all sorts of nostalgia for me that has nothing to do with the lyrics per se…but I digress.

I think what ranks as favourite (and please, let’s spell like Canadians here) for me as far as lyrics go, hasn’t really changed since I was twelve. I like a good, simple message that says: you’re gonna be okay.

Perfect example, Cat Stevens’ (back when he was still Cat Stevens) “If You Want to Sing Out”:

Well, if you want to sing out, sing out
And if you want to be free, be free
‘Cause there’s a million things to be
You know that there are

And if you want to live high, live high
And if you want to live low, live low
‘Cause there’s a million ways to go
You know that there are

Chorus:
You can do what you want
The opportunity’s on
And if you find a new way
You can do it today
You can make it all true
And you can make it undo
you see ah ah ah
its easy ah ah ah
You only need to know

Well if you want to say yes, say yes
And if you want to say no, say no
‘Cause there’s a million ways to go
You know that there are

And if you want to be me, be me
And if you want to be you, be you
‘Cause there’s a million things to do
You know that there are

Chorus

Well, if you want to sing out, sing out
And if you want to be free, be free
‘Cause there’s a million things to be
You know that there are

Ah, feels good, doesn’t it?

The award for all-time favourite lyricist, though, would probably have to go to Bob Dylan. And just to go to the other end of the spectrum, “A Hard Rain’s A Gonna Fall” is a song I go to when my world falls apart:

Oh, where have you been, my blue-eyed son?
Oh, where have you been, my darling young one?
I’ve stumbled on the side of twelve misty mountains,
I’ve walked and I’ve crawled on six crooked highways,
I’ve stepped in the middle of seven sad forests,
I’ve been out in front of a dozen dead oceans,
I’ve been ten thousand miles in the mouth of a graveyard,
And it’s a hard, and it’s a hard, it’s a hard, and it’s a hard,
And it’s a hard rain’s a-gonna fall.

Oh, what did you see, my blue-eyed son?
Oh, what did you see, my darling young one?
I saw a newborn baby with wild wolves all around it,
I saw a highway of diamonds with nobody on it,
I saw a black branch with blood that kept drippin’,
I saw a room full of men with their hammers a-bleedin’,
I saw a white ladder all covered with water,
I saw ten thousand talkers whose tongues were all broken,
I saw guns and sharp swords in the hands of young children,
And it’s a hard, and it’s a hard, it’s a hard, it’s a hard,
And it’s a hard rain’s a-gonna fall.

And what did you hear, my blue-eyed son?
And what did you hear, my darling young one?
I heard the sound of a thunder, it roared out a warnin’,
Heard the roar of a wave that could drown the whole world,
Heard one hundred drummers whose hands were a-blazin’,
Heard ten thousand whisperin’ and nobody listenin’,
Heard one person starve, I heard many people laughin’,
Heard the song of a poet who died in the gutter,
Heard the sound of a clown who cried in the alley,
And it’s a hard, and it’s a hard, it’s a hard, it’s a hard,
And it’s a hard rain’s a-gonna fall.

Oh, who did you meet, my blue-eyed son?
Who did you meet, my darling young one?
I met a young child beside a dead pony,
I met a white man who walked a black dog,
I met a young woman whose body was burning,
I met a young girl, she gave me a rainbow,
I met one man who was wounded in love,
I met another man who was wounded with hatred,
And it’s a hard, it’s a hard, it’s a hard, it’s a hard,
It’s a hard rain’s a-gonna fall.

Oh, what’ll you do now, my blue-eyed son?
Oh, what’ll you do now, my darling young one?
I’m a-goin’ back out ‘fore the rain starts a-fallin’,
I’ll walk to the depths of the deepest black forest,
Where the people are many and their hands are all empty,
Where the pellets of poison are flooding their waters,
Where the home in the valley meets the damp dirty prison,
Where the executioner’s face is always well hidden,
Where hunger is ugly, where souls are forgotten,
Where black is the color, where none is the number,
And I’ll tell it and think it and speak it and breathe it,
And reflect it from the mountain so all souls can see it,
Then I’ll stand on the ocean until I start sinkin’,
But I’ll know my song well before I start singin’,
And it’s a hard, it’s a hard, it’s a hard, it’s a hard,
It’s a hard rain’s a-gonna fall.

I wrote an entire paper on this song in university. It’s apocalyptic, and packed with imagery. It’s also about the role of the artist in society and my favourite lines are “I’ll tell it and think it and speak it and breathe it” and especially “but I’ll know my song well before I start singing” which is kind of a credo I have adopted, inspired by this song.

Post-Script: I couldn’t really format my comment, so I apologize for its messiness!

Hm! Thanks for the great reply.

For many hours after reading your response, my inner inner juke box was switching between Sing Out and Hard Rain. It made for an interesting mix. One moment I would be skipping to gay revolutionary optimism; then, I would be shaking a turn-of-the-century angry young minister’s fist at the injustices of the world. Fun!

Ah, Mr Cohen. A few (wow, now many) years ago, I had a relationship that ended apocalyptically. To make matters worse, most of my favorite must had become intimately associated with the lady in question and I couldn’t listen to any of it for years after. I am pretty sure early Cohen was the first of that song cycle I could start listening to again. I still listen to So Long Marianne and hear it as the perfect summation of that tumultuous little affair. Ah youth!

Sterling ~ fun post!

I can’t give you what you’re after here, because I’m just not wired that way. :) I can, however, list five songs with lyrics that range from intriguing composition and fine detail to stunning transparency and lachrymosity.

They are: “Reconstruction Site” (The Weakerthans), “One Man Wrecking Machine” (Guster), “Mad World” (Tears For Fears), “Wish You Were Here” (Pink Floyd), and my nod to your artist – “Hallelujah” (Leonard Cohen).

That’s what I was aiming for! Glad you enjoyed it. Interesting choices. Three out of five don’t ring any bells (Tears for Fear had good lyrics? Really? No, Come on. Really? :) ).

I’m also a big fan of “Hallelujah” but I think I prefer one of the shortened cover versions as opposed to the original. Reminds me of an embarrassing moment in karaoke. I got up to take on “Hallelujah” not realizing Cohen’s original had many more lyrics that I did not know. Fortunately, it was a friendly crowd. :)

Harshin’ on a girl this fine Sunday afternoon! The Weakerthans should ring a bell. I can’t believe you’ve never seen the movie, “Donnie Darko”, and everyone knows the best cover of “Hallelujah” is by Rufus Wainwright.

Shouldn’t you be making American turkey? :)

I have seen Donnie Darko and loved it so much that I am afraid to watch it again for fear it wasn’t that good.

The Rufus version is good but I believe the mark is set by Jeff Buckley. Check it out here.

Rufus can be found here.

Twitter chatter unearths this version by John Cale. Sourced by @austinani

The Weakerthans are a great band from Western Canada. I’ve seen them live a few time in Ottawa. I will have to consult a lyrics chart, but some of my favourite songs because of lyrics are “Under the Bridge” Red Hot Chili Peppers, “Just like Heaven” The Cure, and “Pacific Avenue” John Carroll (he’s local). Though in all these cases, the lyrics blur with melody for me. Would I like them as much without knowing the tune? Maybe not.

Okay, it took me awhile because I’m not into song lyrics as poetry as much as you are. But I was crooning along to this Billy Joel tune today in the car and I realized that I love, love, love the sounds of the words in these lyrics:

She can kill with a smile, she can wound with her eyes
She can ruin your faith with her casual lies
And she only reveals what she wants you to see
She hides like a child, but she’s always a woman to me

She can lead you to love, she can take you or leave you
She can ask for the truth, but she’ll never believe
And she’ll take what you give her as long it’s free
Yeah, She steals like a thief, but she’s always a woman to me

Ohhh… she takes care of herself
She can wait if she wants, she’s ahead of her time
Ohhh… and she never gives out and she never gives in, she just changes her mind

And she’ll promise you more than the garden of Eden
Then she’ll carelessly cut you and laugh while you’re bleeding
But she’ll bring out the best and the worst you can be
Blame it all on yourself ’cause she’s always a woman to me

She’s frequently kind and she’s suddenly cruel
She can do as she pleases, she’s nobody’s fool
And she can’t be convicted, she’s earned her degree
And the most she will do is throw shadows at you,
But she’s always a woman to me

ps. I re-watched Donnie Darko recently and I wouldn’t worry. You will love it as much as you did the first time.

pps. I realize that liking Billy Joel will mark me, in the eyes of some, as a complete dweeb. What can I say? The man can play a mean piano.

Thanks!

I did this song a couple of weeks ago for karaoke! I’m a fan! I was a little flat in places but I did it well. :) Billy Joel has some great songs.

While definitely a devout Dylan devotee, I’m not really into his cut-and-square finger pointin’ songs (the most eloquent of which is quoted above). I find them rather strident and simplistic compared to the speed-fuelled stream of consciousness of his electric period. I prefer it when he eschews “deep meaning, man” in favour of witty absurdities and non-sequiturs.

Some exampling:

God said to Abraham, “Kill me a son”
Abe says, “Man,you must be puttin’ me on”
God say, “No.” Abe say, “What?”
God say, “You can do what you want Abe, but
The next time you see me comin’ you better run”
Well Abe says, “Where do you want this killin’ done?”
God says, “Out on Highway 61″
- Highway 61 Revisited

Well, John the Baptist after torturing a thief
Looks up to his hero the Commander-in-Chief
Saying, “Tell me great hero, but please make it brief
Is there a hole for me to get sick in?”
The Commander-in-Chief answers him while chasing a fly
Saying, “Death to all those who would whimper and cry”
And dropping a bar bell he points to the sky
Saying, “The sun’s not yellow, it’s chicken.”
- Tombstone Blues

Now pull that drummer out from behind that bottle
Pass me my pipe, we’re gonna shake it
Slap that drummer with a pie that smells
Take me down to California, baby.
- Yea! Heavy And A Bottle Of Bread

Also, I love the lyrics of Lambchop (the alt-country-jazz-lounge collective, not the obnoxious sock puppet).

I had always thought
That hand-guns were made for shooting people
Rather than for sport
Why not use a rifle in most other applications?
- Paperback Bible

And ash into the puddle
Made from the urine
Of the dogs
It is very cold
And with the coldness comes a quiet
Interrupted by a sound.
- Interrupted

Autumn leaves
But she didn’t say where she was going.
- Crackers

IB! Some great choices. I’m not very familiar with Lambchop but I like the lines quoted from Interrupted in particular!

As you know, I also worship at the alter of Dylan but, as much as I like his songs and lyrics, the lack of internal coherence often leaves me less satisfied then I otherwise might be. But, having said that, if a lack of coherence is the price to pay for lines like, “The sun’s not yellow, it’s chicken” it’s a small price to pay. :)

You know, lately I’ve been thinking about the whole Dylan-as-arch-songwriter myth. It always kind of bothers me when people (usually with bad taste) say “Well, I don’t like him as a singer, but I love his songs (when sung by other people).” Seems to me that this misses the whole point of what makes Dylan such a genius.

Like I said above, I think his strongest songs are from his mid to late sixties electric/country-rock period (“Bringing It All Back Home Again” to “John Wesley Harding”, the latter being in my view by far his masterpiece). The songs from this period tend to be standard blues-folk chord progressions over which are draped hastily “vomited” (to use Dylan’s terminology) stream-of-consciousness pseudo-nonsense. The beauty of these songs is not in their “deep meaning, man” (as if Dylan’s protest songs were not mostly just simplistic sloganeering), but rather in the musicality of their nonsense (I wrote an impenetrably long blog post on Captain Beefheart which touches on this).

I like the ambiguity that comes from a lack of coherence: “Tombstone Blues”, for instance is a writerly text (in the words of Barthes) which doesn’t, for example, tell us exactly how we should feel about, say, the lonesome death of Hattie Carroll.

Anyway, the point I’m circling around is that to think of Dylan as this earnest song-crafter ignores his very real gifts as a stylistic performer and ace, if traditional, arranger.

Incidentally, it seems we share a favourite Dylan line: “Beauty walks a razor’s edge / Some day I’ll make it mine.” If I had to pick a whole song, however, I might go with “The Ballad Of Frankie Lee & Judas Priest”.

I also don’t buy the Dylan great songwriter but bad vocalist line of analysis. His vocal stylings, sense of rhythm, and great sense of melody is all part and parcel of what make him great. Like great hip-hop, it’s not exactly what is said but how it is said that matters and that’s all Dylan. He just riffs on stuff that hippies happen to dig.

You like “John Wesley Harding”. I was fairly underwhelmed but will dig it out and give it another listen. The Ballad of Frankie Lee doesn’t even ring any bells, I will investigate.

SL


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