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The Poetry of (the Progressive Rock Group) Yes: Introduction to “The Revealing Science of God—Dance of the Dawn” from “Tales from Topographic Oceans” November 16, 2011

Posted by rwf1954 in lyrics, music, music commentary, progressive rock, rock music, Yes.
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(I have offered posts at this blog a about the poetry of Jimi Hendrix (“Castles Made of Sand,” “The Wind Cries Mary,” “Burning of the Midnight Lamp,” “Up From the Skies,” “Axis: Bold as Love,” and “House Burning Down”). This is the second post that expands the idea to the progressive rock group Yes. The first was about “Awaken” from the album “Going for the One.”)

This post concerns a short section of the huge Yes opus, four LP record sides for four pieces, “Tales from Topographic Oceans.” I’m zeroing in on approximately two minutes of music and lyrics at the beginning because I find it to be one of the most powerful passages of progressive rock music ever recorded. This short passage has brought me to tears, to a feeling of a mystical connection to something beyond worldly power that has me revved up but somehow at peace at the same time. I won’t try to go into all of “Tales from Topographic Oceans,” or even all of this Part One. I am here concerned with this fourteen lines of chant-like introduction at the beginning.

(My apologies to Yes—one of my favorite rock bands—but after the extraordinary power of this introduction, I found the rest of “Tales from Topographic Oceans” to be anticlimactic. It would have been hard to match the power of the opening. For me, the rest didn’t. But that does not detract from the greatness of those two minutes!)

Some Background
In the liner notes for “Tales from Topographic Oceans,” Jon Anderson writes that the piece was inspired by “the four Shastric Scriptures which cover all aspects of religion and social life.”Anderson found the Shastras “so positive in character” that he and Steve Howe, and eventually the rest of the group, created four large-scope progressive rock pieces that became “Tales from Topographic Oceans.”

The “1st Movement” is the “Shrutis.” (In researching the meaning of this term, I found that it can refer to something that is heard, and that it can also refer to the notes of the Indian music scale.) In the liner notes, Andersonwrites: “The Revealing Science of God can be seen as an ever-opening flower in which simple truths emerge examining the complexities and magic of the past and how we should not forget the song that has been left to us to hear. The knowledge of God is a search. Constant and clear.”

*******

The lyrics in this introductory section are chanted in a tight rhythm. The chanted lyrics provide the rhythm of the music. And the effect builds, with accompanying music encircling the chant, and with the chant itself rendered more powerfully and intensely as it goes. There are comments I could offer for nearly every phrase of this amazing lyrical/poetic procession of rich metaphysical allusions. I will focus on phrases that struck me. I invite comments from readers on what struck them.

The passage breaks into four sections, each starting with “Dawn of:”

  • Dawn of Light
  • Dawn of Thought
  • Dawn of Our Power
  • Dawn of Love

This progression itself takes us on a mystical journey—culminating with love.

Dawn of Light
Genesis tells us that God said “let there be light,” and existence then began. Modern physics might actually confirm that light did indeed come first. Light is the one constant of the universe—even space and time vary. So the phrase “Dawn of Light” starts us at the beginning of existence, a powerful start. We have one voice, Jon Anderson’s thin, delicate vocal sound offering these powerful words. A few simple notes of bass and guitar imply what will be a fairly simple harmonic underpinning. Other phrases that struck me in this section were “in moments hardly seen forgotten” and “we fled from the sea whole.” “Moments hardly seen forgotten” for me refers to the idea that we still look to that ultimate beginning for ultimate answers. Those beginning moments were “hardly seen,” and certainly not forgotten. Science looks far into the distance with powerful telescopes, backwards in time, trying to see that initial burst of light. Science also looks at the behavior of basic particles at high energies, at conditions prevalent at the beginning. And we know, if we can ever solve the beginning, the “Dawn of Light,” we may find ultimate physical and metaphysical truth. “We fled from the sea whole,” with a distinct pause between “sea” and “whole,” brings to mind the evolution of humanity from a carbon-based chemical soup in the ocean (likely near the coasts of primordial land).

Dawn of Thought
This section appears to refer to the beginning of humanity’s search for ultimate answers. With the phrase “revealing corridors of time provoking memories disjointed but with purpose craving penetrations offer links,” we reach for it, occasionally touching these answers. The phrase “we took to the air a picture of distance” evokes humanity’s emergence into space, with the deepening understanding of our physical world, but still struggling with the “self instructors sharp and tender love.” Keyboard chords emerge faintly, growing, offering more structure to the rhythm. A second lower vocal line adds depth to the chant. We know now we’re building toward something.

Dawn of Our Power
The chant is less gentle now, moving forward with driving emotion. A lone synthesizer note blasts over the top, questioning whether this “Our Power” has brought us the peace and love it should have. We are “redescending,” maybe misled or deceived by “misused expression.” We look for love, but we end up with “passion chasing late into corners.” (“Passion chasing late into corners” is one of my favorite lyrical phrases of this selection.) Here we are, modern humanity, so educated, so materially successful, yet so utterly destructive. Our passions, misguided reaches for love ending in hate, box us into corners, trapped in the destructive modes of behavior that killed more humans over the last century than less “civilized” humanity killed in previous millennia. But we “danced from the ocean.” Have we emerged again? (I hope, Jon Anderson and Steve Howe, that we have.)

Dawn of Love
The music now pulses toward a climax—but make no mistake about it, the rhythm of the words still drives the piece. “Dawn of Love sent within us” begins this section. We have the “colours of awakening” (Yes deals with spiritual awakening in their masterful piece “Awaken” from the album “Going for the One.” See my previous blog post about the Poetry of Yes). We culminate with powerful music and words, offered with almost a singing shout—“As the links span our endless caresses for the freedom of life everlasting.” “The freedom of life everlasting” is an extraordinarily powerful phrase offered at the peak of emotion. It brings the momentum of this driving rhythmic procession of words to a fitting dramatic climax. Ultimate truth may well reveal how mind/soul might exist outside of material time and space. That would grant us an immortality, not of body, but of mind/soul, of consciousness. If consciousness never dies, could that be considered freedom, ultimate freedom? So we seek “endless caresses” of that freedom, the “freedom of life everlasting.”

 *******

 Of course, with any sort of analysis like this, I run the risk of people telling me I got this totally wrong. That’s fine. There is more than one way to experience these lyrics. My attempt is simply to enhance enjoyment for those who love this music (and lyrics/poetry) as much as I do. All reasonable comments will be posted!

*******

Complete lyrics of the opening of “The Revealing Science of God—Dance of the Dawn” from “Tales form Topographic Oceans”:

Dawn of Light lying between silence and sold sources.
Chased amid fusions of wonder. In moments hardly seen forgotten.
Coloured in pastures of chance dancing leaves cast spells of challenge,
Amused but real in thought. We fled from the sea whole.

Dawn of Thought transferred through moments of days undersearching earth
Revealing corridors of time provoking memories. Disjointed but with purpose,
Craving penetrations offer links with the self instructors sharp
And tender love as we look to the air. A picture of distance.

Dawn of Our Power we amuse redescending as fast as misused
Experssion, as only to teach love as to reveal passion chasing
Late into corners. And we danced form the ocean.

Dawn of Love sent within us colours of awakening among the many
Wont to follow. Only tunes of a different age. As the links span
Our endless caresses for the freedom of life everlasting.

Tales from Topographic Oceans

Tales from Topographic Oceans

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The Poetry of (the Progressive Rock Group) Yes October 13, 2011

Posted by rwf1954 in lyrics, music, music commentary, progressive rock, rock music, Yes.
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I have offered posts at this blog a about the poetry of Jimi Hendrix (“Castles Made of Sand,” “The Wind Cries Mary,” “Burning of the Midnight Lamp,” “Up From the Skies,” “Axis: Bold as Love,” and “House Burning Down”). This post expands the idea to the progressive rock group Yes. I will very likely offer other posts along these lines as mood or inspiration strikes for Yes, and for other rock artists.

Yes lyrics, with credit usually given to Jon Anderson, are among the most esoteric, enigmatic rock lyrics ever created. Many of these lyrics work as poetry, as a flow of words creating moods and feelings, with precise meanings hard to pin down. Themes of the lyrics are generally mystical/spiritual, exploring subjects far different from the often earthy, base subjects of rock songs. In fact, the term “song” really doesn’t fit what Yes does. They write pieces with developed themes, like pieces of “Classical Music.” (I discuss “Classical Music” in more depth in the article at my Internet column, “Is ‘Classical Music’ Fading Into Obscurity?”) In fact, as I address the poetry and music of Yes, I know I will find myself turning a little to analytical skills learned during my conservatory training (eons ago). As I did with Jimi Hendrix, I will select some personal favorites, pieces that touch me as particularly poetic.

There are a lot of poetic Yes selections to choose from. But the one I will start with is “Awaken” from their 1977 album “Going for the One.” This piece has moved me to tears more than once with the incredible power of the combination of music and words. At times, I have felt as if this music connected me to some power beyond what is evident in the material world. So I will start “The Poetry of Yes” with a look at “Awaken.”

I will not deconstruct any Yes pieces word by word. There are too many ways to go with these lyrics, and trying to analyze them line by line would be silly. What I will do instead is speak of the piece in terms of overall effect, quoting lyrics as part of the process. (And I will post  complete lyrics at the end, as I did in the Hendrix posts.)

“Awaken” is a piece consisting of five distinct sections, building dramatically to the climax—and then a denouement. Part One is a hint of where we will end up. For me, the lyrics of this section, and the end, refer to an awakening of a dormant spirituality, a dormant connection with something beyond mortality, but recognizing our material limitations. “High vibration go on,” calls to mind an energy beyond what we can touch and quantify. And we “wish the sun to stand still,” and reach for that objective while realizing “now” is where we exist.

Part Two bursts into an edgier section. “SUN HIGH STREAMS THRU” and “STRONG DREAMS REIGN HERE” glide above the imperative throbbing of “AWAKEN GENTLE MASS TOUCH.” This is a call to awaken, to stop what we are doing and rediscover “GENTLE MASS TOUCH.” But the call to awaken will not be so simple.

During Part Three, Yes takes us to the “workings of man.” The music cycles through a dizzying succession of chord changes, as if struggling to stay centered. And the words and music, though hinting at the struggle, do stay centered. Despite all the chord changes, each stanza migrates back to the tonic, back to the tonality of the piece. The words refer to the “workings of man” possibly causing a separation from the awakening, but each stanza ends with lines like “all restoring you” and “is promised for his scene is reaching so clearly.” We are back to the coming awakening. The section ends with “all is left for you now.” “All is left”—for the “awakening.”

Part Four is the section that takes me to the flood of emotions I referred to earlier. It is like a mystical prayer offered in a chant-like style, calling to mind images of monks praying in unison to God, to the spiritual force. The vocal line rises, step-by-step, rising as if to touch the heavens, to touch God Itself/Himself/Herself. We have the same shifting chords. But they are less frenetic, rising and falling methodically, with each deliberate cadence taking us a step closer to the piece’s spiritual objective. The stanzas start out “Master of images,” “Master of light,” “Master of soul,” “Master of time”—I see this as a supplication to a singular power, a massive enveloping power, in control of “images,” “light,” “soul,” and “time.” And we ask the “Master of light” to allow “the closely guided plan” to “awaken in our heart.” We shed doubt. And as we look “forever closer,” we bid “farewell.” For me, this is a farewell to the slumber. This is the call to “awaken” the piece refers to. Here is the climax—the “awakening” has occurred.

With Part Five, we’re back to the beginning, which was a hint of the ending. But added are the lines:

Like the time I ran away
And turned around
And you were standing next to me

This, to me, is a piece about reconnecting with a spiritual force, ever present, but easy to lose track of in a world that can seem harsh and difficult, often mired in the material.

No doubt, there is more than one way to experience these lyrics.  I invite your comments.

*******

Complete lyrics for “Awaken:”

High vibration go on
To the sun, oh let my heart dreaming
Past a mortal as me
Where can I be

Wish the sun to stand still
Reaching out to touch our own being
Past all mortal as we
          Here we can be
          We can be here
          Be here now
          Here we can be

AWAKEN        SUNS HIGH STREAMS THRU       AWAKEN
GENTLE         STRONG DREAMS REIGN HERE  GENTLE
MASS                                .)(.                       MASS
TOUCH          STAR, SONG, AGE, LESS            TOUCHING

Workings of man
Set to ply out historical life
Reregaining the flower of the fruit of his tree
All awakening
All restoring you

Workings of man
Crying out from the fire set aflame
By his blindness to see that the warmth of his being
Is promised for his seeing his reaching so clearly

Workings of man
Driven far from the path
Rereleased in inhibitions
So that all is left for you
            all is left for you
            all is left for you
            all this left for you now

Master of images
Songs cast a light on you
Hark thru dark ties
That tunnel us out of sane existence
In challenge as direct
As eye see young scars assemble

Master of light
All pure chance
As exists cross divided
In all encircling mode
Oh closely guided plan
Awaken in our hearts

Master of Soul
Set to touch
All impenetrable youth
Ask away
That thought be contact
With all that’s clear
Be honest with yourself
There’s no doubt no doubt

Master of Time
Setting sail
Over all of our lands
And as we look forever closer
Shall we now bid
Farewell farewell

High vibration go on
To the sun, oh let my heart dreaming
Past a mortal as me
Where can I be

Wish the sun to stand still
Reaching out to touch our own being
Past all mortal as we
            Here we can be
            We can be here

Like the time I ran away
And turned around
And you were standing close to me

Like the time I ran away
And turned around
And you were standing close to me

© 1977
Anderson/Howe

Going for the One - Yes (includes "Awaken")

Going for the One - Yes (includes "Awaken")

The Poetry of Jimi Hendrix (IV) – “Up from the Skies” February 26, 2011

Posted by rwf1954 in Jimi Hendrix, lyrics, music commentary, rock music, Uncategorized.
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(This is the fourth of a series of posts about the lyrics of rock super-guitarist Jimi Hendrix. This is certainly what I meant when I introduced this blog and said “So my readers should expect all kinds of digressions, everything from some musical musings to an off-the-wall comment about the world.” I am a musician well as a writer, writing and performing. I cover nine Hendrix songs (here is a current playlist of what I perform with my drum-bass machine set-up). This series of posts is not about songs like “Foxey Lady” and “Little Miss Lover.” A handful of Hendrix songs glisten with a lyrical inventiveness, uniquely poetic and musical, words and music existing in a smooth symbiotic combination. The lyrics drip and glide through the songs the way Jimi Hendrix’s guitar notes drip and glide through auditory space. These will be the songs I will discuss in these posts. Of course, these posts represent my interpretations of these lyrics. This is not an exact science. Your comments, agreeing and disagreeing are invited.)

In his jazzy, bluesy “Up From the Skies,” the song’s singer approaches us—he just wants to talk to us. He seems to be familiar with us, but has been separated from us for awhile, maybe for eons, maybe returning from another world. (This is also implied by the juxtaposition of “Up From the Skies” just after the opening album-cut of “Axis: Bold as Love”—“EXP,” which refers to UFOs.) The singer is puzzled by what he finds as he encounters us. Through his questions, he comments on contemporary humanity:
• Why are we living on a “people farm,” in “cages, tall and cold?” With this inquiry, the traveler implies that the world we have designed for ourselves lacks a sense of free spirit.
• What happened to the “rooms behind your minds?” It looks to him like they’re empty, like a “vacuum,” though he considers he could be missing something. He asks if it is “just remains from vibrations of echoes long ago,” things like loving the world and letting “fancy”/enjoyment flow, which he implies are now missing Have we given up joy and embraced some form of dull, stifling rigidity? He keeps asking— “Is this true?” He wants to engage us to find out.
• He acknowledges he was here before—“the days of ice.” He could mean the Ice Age, eons ago, or just a cooler period.
• He has returned, and now finds “the stars misplaced, and “the smell of a world that has burned.” These are wonderfully poetic images that could mean many things. “The stars misplaced” could mean the world has changed locations. It could also be an astrological comment, that the future we should be enjoying has not arrived, that our path has been changed, not for the better, maybe irrevocably.
• “The smell of a world that has burned” could also have various meanings. In the late 1960s, nuclear annihilation was a persistent fear. Has this narrator returned after a nuclear holocaust? In “House Burning Down,” (a song I will discuss in a later post), he offers some similar images. The “burning” could refer to the casual violence some people appear willing to inflict on others. I do not believe this is an early reference to global warming, even though we have “days of ice” followed by a “the smell of a world that is burned.” This song came out about a decade before fears of a new Ice Age, and well before global warming became an environmental concern. I do suspect the references to “the world that has burned,” refer to some sort of human violence.
• Though puzzled, the singer is utterly fascinated with the changes he has seen, “the new Mother Earth,” and he wants to “hear and see everything.”

The bouncy to tone of the song implies that the singer is not agitated by these developments, though they seem to be dark, disturbing developments—“people farms,” “living in cages,” “smell of a world that has burned,” “the stars misplaced.” The song’s singer’s attitude of whimsical curiosity also suggests a detachment—he does not consider himself part of this world he is observing. The simple chords and driving beat combine with the music to create the glib flippant tone of the strong: IV7-I7 (with a few added 9ths thrown in), one key change up to step to another set of IV7-I7 moves, with a bridge that is just the V to the IV, cadencing back to I after a brief instrumental. It’s a simple musical backdrop for deceptively provocative lyrics, creating a wonderfully intriguing internal contradiction.

Complete lyrics of “Up From the Skies”:

I just want to talk to you
I won’t do you no harm
I just want to know about your diff’rent lives
On this here people farm
I heard some of you got your families
Living in cages tall and cold
And some just stay there and dust away
Past the age of old.
Is this true?
Let me talk to you.

I just wanna know about
The rooms behind your minds
Do I see a vacuum there
Or am I going blind?
Or is it just uh, remains of vibrations
And echoes long ago?
Things like “love the world” and
“Let your fancy flow”
Is this true?
Let me talk to you
Let me talk to you.

I have lived here before
The days of ice
And of course this is why
I’m so concerned
And I come back to find
The stars misplaced
And the smell of a world
That has burned
A smell of a world
That has burned.

Yeah well, maybe it’s just a… change of climate
Well I can dig it
I can dig it baby
I just want to see.

So where do I purchase my ticket?
I’d just like to have a ringside seat
I want to know about the new Mother Earth
I want to hear and see everything
I want to hear and see everything
I want to hear and see everything 

Richard Warren Field plays Jimi Hendrix.

Axis: Bold as Love

Axis: Bold as Love

The Poetry of Jimi Hendrix (III) – “Burning of the Midnight Lamp” January 14, 2011

Posted by rwf1954 in Burning of the Midnight Lamp, Jimi Hendrix, lyrics, music commentary, rock music.
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1 comment so far

(This is the third of a series of posts about the lyrics of rock super-guitarist Jimi Hendrix. This is certainly what I meant when I introduced this blog and said “So my readers should expect all kinds of digressions, everything from some musical musings to an off-the-wall comment about the world.” I am a musician well as a writer, writing and performing. I cover nine Hendrix songs (here is a current playlist of what I perform with my drum-bass machine set-up). This series of posts is not about songs like “Foxey Lady” and “Little Miss Lover.” A handful of Hendrix songs glisten with a lyrical inventiveness, uniquely poetic and musical, words and music existing in a smooth symbiotic combination. The lyrics drip and glide through the songs the way Jimi Hendrix’s guitar notes drip and glide through auditory space. These will be the songs I will discuss in these posts. Of course, these posts represent my interpretations of these lyrics. This is not an exact science. Your comments, agreeing and disagreeing are invited.)

This is another song, like “The Wind Cries Mary,” consisting of words that sound good together, and shouldn’t be pulled apart too much with analysis. But one set of lines is one of my favorite song lyric passages in any song:

“It really doesn’t, really doesn’t bother me
Too much at all
It’s just the ever falling dust
That makes it so hard for me to see”

I have plucked these words out of the second verse, right out of context.  I just like the way these words flow together.

The song is about being alone. The title line has us picturing someone working hard on something, in the wee hours of the night, and into the next morning. The situation is overwhelming in some way, “just a little more than enough to make a man throw himself away.” But there is hope, expressed at the end of the song. The tone is gloomy, but there is some uncertainty at the end hinting that matters might improve. This is expressed with incredible poetic eloquence:

“Soon enough, time will tell
About the serpents in the wishing well”

We have wishes. Serpents lurk within those wishes. No one knows what the results will be when the serpents and wishes collide.

As it with the other Jimi Hendrix songs, the music adds to the effect. Oddly juxtaposed chords follow the simple straightforward introductory riff that sets up the tonic. The verses then follow the riff: IV-II-♭I-III, then I (but after those moves, it doesn’t feel like I anymore)-V-II-IV, then IV-#IV-V (Hendrix’s trademark two-step chromatic move up). Then, after all those wild moves, the verse sits on the V chord before going back to the opening riff in the tonic key.  The shifting chords give the dark lyrics a great musical backdrop.

“Burning of the Midnight Lamp” was not one of Hendrix’s best known songs. I believe it was on the back of the “All Along the Watchtower” 45 single. But I recall playing this song over and over, more than the Dylan cover, enjoying the souped-up psychedelic arrangement, the poetic lyrics, and the inventive chord progression that seems to verge on going out of control, but somehow shifts back to home.

Complete lyrics to “Burning of the Midnight Lamp”:

The morning is dead
And the day is too
There’s nothing here to meet me
But the velvet moon
All my loneliness
I have felt today
It’s just a little more than enough
To make a man throw himself away
And I continue to Burn the Midnight Lamp, alone

Now the smiling portrait of you
Is still hanging on my frowning wall
It really doesn’t, really doesn’t bother me
Too much at all
It’s just the ever falling dust
That makes it so hard for me to see
That forgotten earring laying on the floor
Facing coldly towards the door
And I continue to Burn the Midnight Lamp, alone

Loneliness is such a drag

So here I sit to face
That same old fireplace
Getting ready for the same old explosion
Going through my mind
And soon enough, time will tell
About the serpents in the wishing well
And someone who will buy and sell for me
Someone to toll my bell
And I continue to burn the same old lamp, alone

© 1967 Jimi Hendrix 

Richard Warren Field plays Jimi Hendrix.

Electric Ladyland

Electric Ladyland

The Poetry of Jimi Hendrix (II) – “The Wind Cries Mary” December 8, 2010

Posted by rwf1954 in Jimi Hendrix, lyrics, music commentary, rock music, The Wind Cries Mary, Uncategorized.
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9 comments

(This is the second of a series of posts about the lyrics of rock super-guitarist Jimi Hendrix. This is certainly what I meant when I introduced this blog and said “So my readers should expect all kinds of digressions, everything from some musical musings to an off-the-wall comment about the world.” I am a musician well as a writer, writing and performing. I cover nine Hendrix songs (here is a current playlist of what I perform with my drum-bass machine set-up). This series of posts is not about songs like “Foxey Lady” and “Little Miss Lover.” A handful of Hendrix songs glisten with a lyrical inventiveness, uniquely poetic and musical, words and music existing in a smooth symbiotic combination. The lyrics drip and glide through the songs the way Jimi Hendrix’s guitar notes drip and glide through auditory space. These will be the songs I will discuss in these posts. Of course, these posts represent my interpretations of these lyrics. This is not an exact science. Your comments, agreeing and disagreeing are invited.)

I will admit; unlike “Castles Made of Sand,” I have no real clue what these lyrics mean. And, I think it could be a mistake to bollix them up with some sort of forced meaning. Poetry can simply be the music in the words or phrases, the way they combine, the sound they make as they glide from line to line. “The Wind Cries Mary” offers us those types of lyrics.

Of course, please comment if you have discovered a meaning you think is present. I will gladly add other perspectives to the commentary I am offering in this post.

My favorite phrase highlights;

“You can hear happiness staggering down the street”

  • I’m not sure what this means, but somehow I can picture it without explaining it, especially the way Jimi Hednrix delivers the lyrics.

 “A broom is drearily sweeping up the broken pieces of yesterday’s life
Somewhere a queen is weeping
Somewhere a king has no wife”

  • This is the one verse that does seem to crystalize with a specific meaning. The king and queen have somehow lost each other, or something special to them. And the rhyme of “wife” and “life” would seen forced in most circumstances. But here, the flow of the lyrics causes us to conclude there is other no rhyme possible here.

“The traffic lights turn blue tomorrow”

  • Hendrix was a bluesman—the traffic lights, the flow of traffic, of life, are caught up in the blues.

 “The tiny island sags downstream
’Cos the life they lived is dead”

  • I can picture a little island dragged by a river current out of its position—displaced. Whatever life that island, those people, that reality had—is gone.

“Will the wind ever remember
The names it has blown in the past
With this crutch, its old age and its wisdom
It whispers, ‘No, this will be the last.’”

  • Again, I hate to try to pin this down to a precise meaning. But the verse feels like a final verse, somehow nostalgic, bittersweet, with a wise old man making his way through a breeze, slowly, with little time left but with all the time in the world, listening to the wind answering the question at the beginning of the verse.

 “The Wind whispers/Cries/screams Mary”

  • I have no idea how to put the feeling of this into words. It means something felt more than understood, like the song. The song lopes along through the verses, but the chorus halts punctuated with ♭VII-♮VII-I chords gliding up, an easy move on the guitar. It’s that hesitation before getting back to I that gives the chorus its halting quality. The verses ooze along with V-IV-I, finishing with II to V, but then won’t settle on I right away, slipping back to ♭VII-♮VII-I before getting there. “Mary” starts on the ♭VII, as if it can’t start out settled.

I invite comments on these posts about Jimi Hendrix, and look forward to other ideas about this unique, wonderful artist, whom we wish had lived long enough to create much lyrics and music for us to experience.

_______

The complete lyrics for“The Wind Cries Mary”:

After all the jacks are in their boxes,
And the clowns have all gone to bed,
You can hear happiness staggering on down the street,
Footprints dress in red.

And the wind whispers Mary.

A broom is drearily sweeping
Up the broken pieces of yesterday’s life.
Somewhere a Queen is weeping,
Somewhere a King has no wife.

And the Wind cries Mary.

The traffic lights turn blue tomorrow
Shine their emptiness down on my bed
The tiny island sags downstream
‘Cos the life that they lived is dead.

And the wind screams Mary.

Will the wind ever remember
The names it has blown in the past
With this crutch, its old age and its wisdom
It whispers, “No, this will be the last.”

And the Wind cries Mary.

© 1967 Jimi Hendrix

 Richard Warren Field plays Jimi Hendrix.

Are You Experienced - Jimi Hendrix Experience

Are You Experienced - Jimi Hendrix Experience

 

Previous “Poetry of Jimi Hendrix” post:

The Poetry of Jimi Hendrix (I) – “Castles Made of Sand”

The Poetry of Jimi Hendrix (I) – “Castles Made of Sand” October 19, 2010

Posted by rwf1954 in Castles Made of Sand, Jimi Hendrix, lyrics, poetry, Uncategorized.
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(This is the first of a series of posts about the lyrics of rock super-guitarist Jimi Hendrix. This is certainly what I meant when I introduced this blog and said “So my readers should expect all kinds of digressions, everything from some musical musings to an off-the-wall comment about the world.” I am a musician as well as a writer, writing and performing. I cover nine Hendrix songs (here is a current playlist of what I perform with my drum-bass machine set-up). This series of posts is not about songs like “Foxey Lady” and “Little Miss Lover.” A handful of Hendrix songs glisten with a lyrical inventiveness, uniquely poetic and musical, words and music existing in a smooth symbiotic combination. The lyrics drip and glide through the songs the way Jimi Hendrix’s guitar notes drip and glide through auditory space. These will be the songs I will discuss in these posts. Of course, these posts represent my interpretations of these lyrics. This is not an exact science. Your comments, agreeing and disagreeing are invited.)

The song for this post is “Castles Made of Sand” from Jimi Hendrix’s “Axis: Bold as Love” album. The song presents three little stories, followed with the refrain “And so Castles Made of Sand fall/melts/slips into the sea, eventually.” The stories might seem to be unrelated—a man crying not to end a relationship with a lady, an Indian brave killed in a surprise attack the night before his first battle, and a crippled young girl wishing to die. But there is a unifying theme. All three of these people are thwarted from achieving their desires. The crying man is left sobbing at the door. The Indian brave dies in his sleep on the eve of battle after dreaming of his first battle “for many moons.” And the crippled young girl wants to die. A “golden-winged ship”—an apparent metaphor for heaven, in my opinion—passes her by.

And the song’s title, the tag line after these stories, lets us know that all ambitions/achievements/goals, thwarted or not, fade away eventually. Sure, the tone of the song is dark. (Or is the song saying that since everything fades away eventually, these disappointments don’t matter? This is not clear, and I suspect the ambiguity is deliberate, another effective aspect of this song.) But the art of it, the way the music and words slide together in unison to create that effect of falling, of melting, of slipping, of rising out of a sandy beach to stand magnificently but not permanently—all of this makes “Castles Made of Sand” a treasure of a song.

The music contributes to the drift between the angst and acceptance reflected in the lyrics. The verse starts on a VII chord, a jolting, dark harmonic move. The chords then slide up to a ii, and down to a vi, hinting at a gentler mood. But the quick cadence of VII to V to I yanks us back, saying “no, this will be dark after all.” The chorus follows the same pattern, with gentle leads sliding around the V chord, offering the hint of that gentle mood again. But the move to the IV chord with juicy suspensions using the flat 7th of the key pull us right back to that darkness again. The cadence to the tonic (I) chord at the end of the chorus still won’t rest as a quick succession of riff/chords pulse through it.

This combination of music and poetry make “Castles Made of Sand,” one of Jimi Hendrix’s greatest songs, though it is one of his less celebrated. My childhood recollections are that this is the first song from “Axis: Bold as Love” I heard on the radio. (I was at the record store as fast as I could get there to buy it. This was also my reaction when I first heard “Purple Haze” off of his first album. No one else was making music like this.) So someone back then also thought “Castles Made of Sand” was a treasure of a song. Let me know if you agree as well.

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The lyrics to “Castles Made of Sand”:

Down the street you can hear her scream “you’re a disgrace”
As she slams the door in his drunken face
And now he stands outside
And all the neighbors start to gossip and drool
He cries “oh girl you must be mad”
What happened to the sweet love you and me had
And against the door he leans and starts a scene
And his tears fall and burn in the garden green

And so Castles Made of Sand
Fall in the sea
Eventually

There was a young brave who before he was ten
Played war games in the woods with his Indian friends
And he built a dream that when he grew up
He would be a fearless warrior Indian chief
Many moons past before the dream grew strong
’Til tomorrow he would sing his first war song
And fight his first battle but something went wrong
Surprise attack killed him in his sleep that night

And so Castles Made of Sand
Melts into the sea
Eventually

There was a young girl whose heart was a frown
’Cause she was crippled for life and couldn’t speak a sound
So she wished and prayed she could stop living
So she decided to die
She drew her wheelchair to the edge of the shore
And to her legs she smiled you won’t hurt me no more
But then a sight she never seen made her jump and say
Look, a golden-winged ship is passing my way
And it really didn’t have to stop
It just kept on going

And so Castles Made of Sand
Slips into the sea
Eventually

© Jimi Hendrix 1967 

Richard Warren Field plays Jimi Hendrix.

Axis: Bold as Love

Axis: Bold as Love