The Battle Hymn of the Republic with Lyrics and History by the Bard of Bat Yam (#BardOfBatYam), Poet LaureateOfZion (#PoetLaureateOfZion)

Battle Hymn of the Republic

Cover of the 1862 sheet music for the "Battle Hymn of the Republic"

The "Battle Hymn of the Republic," also known as "Mine Eyes Have Seen the Glory," outside of the United States, is a lyric by the American writer Julia Ward Howe using the music from the song "John Brown's Body." Howe's more famous lyrics were written in November 1861, and first published in The Atlantic Monthly in February 1862. The song links the judgment of the wicked at the end of the age (Old Testament, Isaiah63; New Testament, Rev. 19) with the American Civil War. Since that time, it has become an extremely popular and well-known American patriotic song.


Oh! Brothers

The "Glory, Hallelujah" tune was a folk hymn developed in the oral hymn tradition of camp meetings in the southern United States and first documented in the early 1800s. In the first known version, "Canaan's Happy Shore", the text includes the verse "Oh! Brothers will you meet me (3×)/On Canaan's happy shore?" and chorus "There we'll shout and give him glory (3×)/For glory is his own"; this developed into the familiar "Glory, glory, hallelujah" chorus by the 1850s. The tune and variants of these words spread across both the southern and northern United States.

]
As the "John Brown's Body" song

At a flag-raising ceremony at Fort Warren, near Boston, Massachusetts on Sunday May 12, 1861, the John Brown song, using the well known "Oh! Brothers" tune and the "Glory, Hallelujah" chorus, was publicly played "perhaps for the first time." The American Civil War had begun the previous month.

In 1890, George Kimball wrote his account of how the 2nd Infantry Battalion of the Massachusetts militia, known as the "Tiger" Battalion, collectively worked out the lyrics to "John Brown's Body." Kimball wrote:

We had a jovial Scotchman in the battalion, named John Brown. ... and as he happened to bear the identical name of the old hero of Harper's Ferry, he became at once the butt of his comrades. If he made his appearance a few minutes late among the working squad, or was a little tardy in falling into the company line, he was sure to be greeted with such expressions as "Come, old fellow, you ought to be at it if you are going to help us free the slaves," or, "This can't be John Brown—why, John Brown is dead." And then some wag would add, in a solemn, drawling tone, as if it were his purpose to give particular emphasis to the fact that John Brown was really, actually dead: "Yes, yes, poor old John Brown is dead; his body lies mouldering in the grave."

According to Kimball, these sayings became by-words among the soldiers and, in a communal effort—similar in many ways to the spontaneous composition of camp meeting songs described above—were gradually put to the tune of "Say, Brothers":

As originally published 1862 in The Atlantic Monthly


Finally ditties composed of the most nonsensical, doggerel rhymes, setting for the fact that John Brown was dead and that his body was undergoing the process of decomposition, began to be sung to the music of the hymn above given. These ditties underwent various ramifications, until eventually the lines were reached,—


"John Brown's body lies a-mouldering in the grave,
His soul's marching on."

And,—


"He's gone to be a soldier in the army of the Lord,
His soul's marching on."

These lines seemed to give general satisfaction, the idea that Brown's soul was "marching on" receiving recognition at once as having a germ of inspiration in it. They were sung over and over again with a great deal of gusto, the "Glory hallelujah" chorus being always added.

Some leaders of the battalion, feeling the words were coarse and irreverent, tried to urge the adoption of more fitting lyrics, but to no avail. The lyrics were soon prepared for publication by members of the battalion, together with publisher C. S. Hall. They selected and polished verses they felt appropriate, and may even have enlisted the services of a local poet to help polish and create verses.

The official histories of the old First Artillery and of the 55th Artillery (1918) also record the Tiger Battalion's role in creating the John Brown Song, confirming the general thrust of Kimball's version with a few additional details.

Creation of the "Battle Hymn"

Julia Ward Howe, 1897

Kimball's battalion was dispatched to Murray, Kentucky early in the Civil War, and Julia Ward Howe heard this song during a public review of the troops outside Washington D.C. on Upton Hill, Virginia. Rufus R. Dawes, then in command of Company "K" of the 6th Wisconsin Volunteer Infantry, stated in his memoirs that the man who started the singing was Sergeant John Ticknor of his company. Howe's companion at the review, The Reverend James Freeman Clarke, suggested to Howe that she write new words for the fighting men's song. Staying at the Willard Hotel in Washington on the night of November 18, 1861, Howe wrote the verses to the "Battle Hymn of the Republic". Of the writing of the lyrics, Howe remembered:

I went to bed that night as usual, and slept, according to my wont, quite soundly. I awoke in the gray of the morning twilight; and as I lay waiting for the dawn, the long lines of the desired poem began to twine themselves in my mind. Having thought out all the stanzas, I said to myself, "I must get up and write these verses down, lest I fall asleep again and forget them." So, with a sudden effort, I sprang out of bed, and found in the dimness an old stump of a pen which I remembered to have used the day before. I scrawled the verses almost without looking at the paper.

Howe's "Battle Hymn of the Republic" was first published on the front page of The Atlantic Monthly of February 1862. The sixth verse written by Howe, which is less commonly sung, was not published at that time. The song was also published as a broadside in 1863 by the Supervisory Committee for Recruiting Colored Regiments in Philadelphia.

Both "John Brown" and "Battle Hymn of the Republic" were published in Father Kemp's Old Folks Concert Tunes in 1874 and reprinted in 1889. Both songs had the same Chorus with an additional "Glory" in the second line: "Glory! Glory! Glory! Hallelujah!"

Julia Ward Howe was married to Samuel Gridley Howe, the famed scholar in education of the blind. Samuel and Julia were also active leaders in anti-slavery politics and strong supporters of the Union. Samuel Howe was a member of the Secret Six, the group who funded John Brown's work.

Score

"Canaan's Happy Shore" has a verse and chorus of equal metrical length and both verse and chorus share an identical melody and rhythm. "John Brown's Body" has more syllables in its verse and uses a more rhythmically active variation of the "Canaan" melody to accommodate the additional words in the verse. In Howe's lyrics, the words of the verse are packed into a yet longer line, with even more syllables than "John Brown's Body". The verse still uses the same underlying melody as the refrain, but the addition of many dotted rhythms to the underlying melody allows for the more complex verse to fit the same melody as the comparatively short refrain.One version of the melody, in C major, begins as below. This is an example of the mediant-octave modal frame.





Lyrics

Howe submitted the lyrics she wrote to The Atlantic Monthly, and it was first published in the February 1862 issue of the magazine.

First published version


Mine eyes have seen the glory of the coming of the Lord;
He is trampling out the vintage where the grapes of wrath are stored;
He hath loosed the fateful lightning of His terrible swift sword:
His truth is marching on.

(Chorus)
Glory, Glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
His truth is marching on.

I have seen Him in the watch-fires of a hundred circling camps,
They have builded Him an altar in the evening dews and damps;
I can read His righteous sentence by the dim and flaring lamps:
His day is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
His day is marching on.

I have read a fiery gospel writ in burnished rows of steel:
"As ye deal with my contemners, so with you my grace shall deal";
Let the Hero, born of woman, crush the serpent with his heel,
Since God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Since God is marching on.

He has sounded forth the trumpet that shall never call retreat;
He is sifting out the hearts of men before His judgment-seat;
Oh, be swift, my soul, to answer Him! Be jubilant, my feet!
Our God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Our God is marching on.

In the beauty of the lilies[14] Christ was born across the sea,
With a glory in His bosom that transfigures you and me.
As He died to make men holy, let us die to make men free,[15]
While God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
While God is marching on.

* Many modern recordings of the Battle Hymn of the Republic wrongly use the lyric "As He died to make men holy, let us live to make men free" as opposed to the lyric originally written by Julia Ward Howe: "let us die to make men free".
Other versions[edit]

Howe's original manuscript differed slightly from the published version. Most significantly, it included a final verse:


He is coming like the glory of the morning on the wave,
He is Wisdom to the mighty, He is Succour to the brave,
So the world shall be His footstool, and the soul of Time His slave,
Our God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Our God is marching on!

In the 1862 sheet music, the chorus always begins:


Glory! Glory! Hallelujah!
Glory! Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah!"

Recordings and public performances

• Jaye P. Morgan recorded this song on her 1960 MGM Records album titled "Up North".
• In 1960 the Mormon Tabernacle Choir won the Grammy Award for Best Performance by a Vocal Group or Chorus. The 45 rpm single record, which was arranged and edited by Columbia Records and Cleveland disk jockey Bill Randle, was a commercial success and reached #13 on Billboard's Hot 100 the previous autumn. It is the choir's only Top 40 hit in the Hot 100.
• Bing Crosby included the song in a medley on his album 101 Gang Songs (1961).
• Joan Baez performed the song around 1962–63, and a live recording from a concert is featured in the album Joan Baez in Concert, Part 2.
• Judy Garland performed this song on her weekly television show in December 1963. She originally wanted to do a dedication show for President John F. Kennedy upon his assassination but CBS would not let her, so she performed the song without being able to mention his name.
• Andy Williams experienced commercial success in 1968 with an a cappella version recorded at Senator Robert Kennedy's funeral. Backed by the St. Charles Borromeo choir, his version reached #11 on the adult contemporary chart and #33 on the Billboard Hot 100.
• Johnny Cash performed it on his musical variety show on September 27, 1969, closing the show with The Tennessee Three, The Carter Family, and The Statler Brothers.
• Anita Bryant performed it January 17, 1971, at the halftime show of Super Bowl V.
• Elvis Presley began performing a portion of the song as the final portion of the song "An American Trilogy" (which was composed by Mickey Newbury), starting in 1972.
• The Beach Boys recorded the song on November 5, 1974, with lead vocals by Mike Love.
• David Mansfield performed an instrumental rendition of the song on guitar for the 1980 Western film Heaven's Gate.
• The Christian Heavy Metal band Stryper covered this song on their 1985 album Soldiers Under Command.
• Hosanna! Music used this hymn in the 20th album of Praise & Worship Series Army of God with the worship leader Randy Rothwell recorded live in 1988.
• Whitney Houston performed this song at her concert of March 31, 1991 to the troops called "Welcome Home Heroes" also in Shanghai and Beijing on July 22, and July 25, 2004 during the Soul Divas Tour.
• The Washington National Cathedral choirs recorded this song on their 2004 album "America the Beautiful".
• The Brooklyn Tabernacle Choir also sang this song at President Barack Obama's Second Presidential Inauguration Ceremony on January 21, 2013.
• The Mighty Sound of Maryland performs an arrangement of the song as a part of their pregame show.
• The Pride of Minnesota performs an arrangement of the song while marching the honor guard down the field through a series of "swinging gates" during their pregame show.
• The Mother Bethel AME Church Choir from Philadelphia performed this song during the opening day of the Democratic National Convention on July 25, 2016
• Jazz musician Jon Batiste recorded a version of the song in partnership with The Atlantic for their podcast Radio Atlantic.
• The Naval Academy Glee Club performed this song on September 1, 2018 at the funeral of Sen. John McCain at the Washington National Cathedral.

The Rolling Stones & Bruce Springsteen - Tumbling Dice (Proshot)

"Tumbling Dice"


Women think I'm tasty, but they're always tryin' to waste me
And make me burn the candle right down,
But baby, baby, I don't need no jewels in my crown.
'Cause all you women is low down gamblers,
Cheatin' like I don't know how,
But baby, baby, there's fever in the funk house now.
This low down bitchin' got my poor feet a itchin',
You know you know the duece is still wild.
Baby, I can't stay, you got to roll me
And call me the tumblin' dice.
Always in a hurry, I never stop to worry,
Don't you see the time flashin' by.
Honey, got no money,
I'm all sixes and sevens and nines.
Say now, baby, I'm the rank outsider,
You can be my partner in crime.
But baby, I can't stay,
You got to roll me and call me the tumblin',
Roll me and call me the tumblin' dice.
Oh, my, my, my, I'm the lone crap shooter,
Playin' the field ev'ry night.
Baby, can't stay,
You got to roll me and call me the tumblin' (dice),
Roll me and call me the tumblin' (Got to roll me.) dice.
Got to roll me. Got to roll me.

Some Fast Facts

This was originally titled "Good Time Woman," with different lyrics. Mick Jagger told the story of the song to The Sun newspaper May 21, 2010: "It started out with a great riff from Keith and we had it down as a completed song called Good Time Women. That take is one of the bonus tracks on the new Exile package; it was quite fast and sounded great but I wasn't happy with the lyrics Later, I got the title in my head, 'call me the tumbling dice' so I had the theme for it. I didn't know anything about dice playing but I knew lots of jargon used by dice players. I'd heard gamblers in casinos shouting it out.I asked my housekeeper if she played dice. She did and she told me these terms. That was the inspiration."

The Stones recorded this in the musty basement of the Villa Nellcote, a place Keith Richards rented in France so the band could avoid paying taxes in England. They would sleep all day and record at night with whoever showed up. For this track, Mick Jagger and Keith Richards played guitar, and Mick Taylor, ordinarily lead guitarist, played bass.Jagger played guitar on this, something he rarely did.

This was the only track from Exile to chart in the Top 20 of the singles chart. Jagger told The Sun: "It's obviously the most accessible and commercial song on the record. After 'Tumbling Dice,' I remember there wasn't really a follow-up single. People said, 'So, what are you going to release now then?'"Jagger: "It's like a good guitar-hook tune. It's a bit like Honky Tonk Women in a way, in the way it's set up. But it was done for Exile. It's got a lot more background vocals on it. A very messy mix. But that was the fashion in those days. 

This features Bobby Keys on sax and Jim Price on trumpet. They showed up in France to help with the album, and played with The Stones through the early '70s. Keith Richards and Bobby Keys were born on the same day: December 18, 1943. 

Background vocalists include Vanetta Fields and Clydie King.

Linda Ronstadt covered this in 1977. Ronstadt's career during the 1970s was based largely on her successful covers of other artists' songs. 

Exile on Main St. was a double album, and the victim of poor sales and harsh criticism when it was released. Over the years, it has become more appreciated and is considered some of The Stones' best work.

Andy Johns, who engineered the Exile sessions, told Goldmine in 2010: "Obviously it was going to be great but it was a big struggle. Eventually we get a take. Hooray! I thought, 'Let's kick this up a notch and double track Charlie.' 'Oh, we've never done that before.' 'Well, it doesn't mean we can't do it now.' So we double-tracked Charlie but he couldn't play the ending. For some reason he got a mental block about the ending. So Jimmy Miller plays from the breakdown on out that was very easy to punch in. It was a little bit different than some of the others. That song we did more takes than anything else."

Paul McCartney & Bruce Springsteen - I Saw Her Standing There & Twist And Shout

Hard Rock Calling 2012 (Hyde Park, London)

Bruce Springsteen was joined onstage by Paul McCartney as he brought the second night of Hard Rock Calling to a close, but their set was cut shot when organisers turned off their microphones after they broke the venue's sound curfew. McCartney joined Springsteen onstage for "I Saw Her Standing There" and "Twist And Shout", the final songs in Springsteen's 29-song set, which lasted three and a quarter hours in total. But organisers pulled the plug on the encore while The Boss and Macca were trying to address the crowd, rendering them inaudible, to the disbelief of the audience.

Bruce Springsteen said he was amazed when concert bosses pulled the plug on his performance with Paul McCartney: "I wasn't aware the plug had been pulled, and people couldn't hear what I was singing. Afterwards I said to Paul, 'I can understand them pulling the plug on me, but you? Aren't you a knight?'"

Paul McCartney remembers: "Bruce, sort of, got in touch and said, 'Do you wanna get up? We'd like you to get up'. I said, 'Well, I don't know, I'll just come along to the show', so we're in the side of the show in the wings, and he says 'Are you gonna get up, man?', I said 'I don't know, maybe'. Then his roadie says 'I've got a bass for you, I've got a guitar, it's all tuned, it's ready to go'. I go 'Oh, you're REALLY ready!'. So they're all really ready to go, so, what have they rehearsed? He said 'Twist And Shout' and 'I Saw Her Standing There'. So at last minute, I sort of have to say, 'Yeah, I'll do it', so I go on, and it's great, they really have rehearsed it, and I'm the only one who sort of doesn't know it, even though I wrote the bloody thing. So then they go to 'Twist And Shout', and I'm singing it, and someone had whispered 'We haven't got any time, we can't do it', but it was so nice, Bruce is going 'Yeah, come on, man' and Bruce is you know, he's a do-er, a go-getter, so I was happy. 'Yeah!'. We're rocking away, all our monitors stayed on, so we weren't really aware that the plug had been pulled on the audience, that you see on the youtube later, it's all gone dead. And he is singing, he's gonna then go back and sing ' Good Night Irene', which I think was all dead, but we had a laugh again. You've gotta have a laugh, it would just be so terrifying if you didn't, so we just had a laugh afterwards, I was just apologetic like 'I'm sorry, man, only in Britain!'. It's the only place... You can't imagine in New York somewhere like that, them pulling the plug, and it got everyone of course, so that was the big story. Everyone in America was going to me 'Is it true, man? They pulled the plug on you and Springsteen?!', and I'm saying 'Yeah, well, you know, just some guy. Some bloody jobsworth...'"

Bruce Springsteen - Born in the U.S.A.

Born down in a dead man's town
The first kick I took was when I hit the ground
End up like a dog that's been beat too much
Till you spend half your life just covering up

Born in the U.S.A., I was born in the U.S.A.
I was born in the U.S.A., born in the U.S.A.

Got in a little hometown jam
So they put a rifle in my hand
Sent me off to a foreign land
To go and kill the yellow man

Born in the U.S.A., I was born in the U.S.A.
Born in the U.S.A., born in the U.S.A.

Come back home to the refinery
Hiring man said "son if it was up to me"
Went down to see my V.A. man
He said "son, don't you understand"

I had a brother at Khe Sahn
Fighting off the Viet Cong
They're still there, he's all gone

He had a woman he loved in Saigon
I got a picture of him in her arms now

Down in the shadow of the penitentiary
Out by the gas fires of the refinery
I'm ten years burning down the road
Nowhere to run ain't got nowhere to go

Born in the U.S.A., I was born in the U.S.A.
Born in the U.S.A., I'm a long gone daddy in the U.S.A.
Born in the U.S.A., born in the U.S.A.
Born in the U.S.A., I'm a cool rocking daddy in the U.S.A.

Songwriters: Bruce Springsteen

Song Facts 

Springsteen wrote this about the problems Vietnam veterans encountered when they returned to America. Vietnam was the first war the US didn't win, and while veterans of other wars received a hero's welcome, those who fought in Vietnam were mostly ignored when they returned to the states.

The original title was "Vietnam." The director Paul Schrader sent Springsteen a script for a movie called Born In The U.S.A., about a rock band struggling with life and religion. This gave Bruce the idea for the new title. Unfortunately for Schrader, when he was finally ready to make the movie in 1985, the title "Born In The U.S.A." was too associated with the song. Springsteen helped him out however, providing the song "Light Of Day," which became the new title for Schrader's movie and the feature song in the film.

This is one of the most misinterpreted songs ever. Most people thought it was a patriotic song about American pride, when it actually cast a shameful eye on how America treated its Vietnam veterans. Springsteen considers it one of his best songs, but it bothers him that it is so widely misinterpreted. With the rollicking rhythm, enthusiastic chorus, and patriotic album cover, it is easy to think this has more to do with American pride than Vietnam shame.

This is the first song and title track to one of the most popular albums ever - Born In The U.S.A. sold over 18 million copies. The single was released in England as a double A-side with "I'm On Fire."

It was the first song Springsteen wrote for the album. He first recorded it on January 3, 1982 on the tape that became his album Nebraska later that year.

While campaigning in New Jersey in 1984, Ronald Reagan said in his speech: "America's future rests in a thousand dreams inside your hearts. It rests in the message of hope in songs so many young Americans admire: New Jersey's own Bruce Springsteen. And helping you make those dreams come true is what this job of mine is all about."

Springsteen talked about this in a 2005 interview with National Public Radio. Said Bruce: "This was when the Republicans first mastered the art of co-opting anything and everything that seemed fundamentally American, and if you were on the other side, you were somehow unpatriotic. I make American music, and I write about the place I live and who I am in my lifetime. Those are the things I'm going to struggle for and fight for."

Speaking of how the song was misinterpreted, he added: "In my songs, the spiritual part, the hope part is in the choruses. The blues, and your daily realities are in the details of the verses. The spiritual comes out in the choruses, which I got from Gospel music and the church."

Chrysler offered Springsteen $12 million to use this in an ad campaign with Bruce. Springsteen turned them down so they used "The Pride Is Back" by Kenny Rogers instead. Springsteen has never let his music be used to sell products.

This song inspired the famous Annie Leibowitz photo of Springsteen's butt against the backdrop of an American flag. Bruce had to be convinced to use it as the album's cover. Some people thought it depicted Springsteen urinating on the flag.

Looking back on the cover in a 1996 interview with NME, Springsteen said: "I was probably working out my own insecurities, y'know? That particular image is probably the only time I look back over pictures of the band and it feels like a caricature to me."

According to Max Weinberg, Bruce attempted to do the song in a rockabilly trio style, with a country beat.

The drum solo towards the end of the song was completely improvised. Drummer Max Weinberg said that the band was recording in an oval-shaped studio, with the musicians separated into different parts. Springsteen, at the front, suddenly turned towards Weinberg (at the back) after singing and waved his hands in the air frantically to signal drumming. Weinberg then nailed it.

Eight minutes were cut from the song, which Max Weinberg said went on into a psychedelic jam. >>

Bruce performed solo, acoustic versions on his tours in 1996 and 1999. He wanted to make sure the audience understood the song.

Springsteen allowed notorious rap group The 2 Live Crew to sample this for their song "Banned In The U.S.A." in 1990, after the group was arrested for performing songs with obscene lyrics. Bruce felt they had a constitutional right to say whatever they wanted in their songs.

This was recorded live in the studio in three takes.

Richard "Cheech" Marin parodied this in the song "Born In East L.A.," which came from his 1987 movie of the same name. Sample lyrics:

Next thing I know, I'm in a foreign land

People talkin' so fast, I couldn't understand

>>

Born In The U.S.A. was the first CD manufactured in the United States for commercial release. It was pressed when CBS Records opened its CD manufacturing plant in Terre Haute, Indiana in 1984. Discs previously had been imported from Japan.

The children's TV show Sesame Street reworked this as "Barn In The U.S.A.," credited to Bruce Stringbean and the S. Street Band. >>

Springsteen's fist-pumping recitations of this lament for the plight of the Vietnam War veterans during his 1984-85 Born In The USA tour contributed to its mis-reading as a patriotic song by US right-wingers. Critic Greil Marcus wrote: "Clearly the key to the enormous explosion of Bruce's popularity is the misunderstanding… He is a tribute to the fact that people hear what they want to hear."

The video was directed by John Sayles, who wrote the screenplay for the 1978 movie Piranha and later directed the films Lone Star, Honeydripper and Eight Men Out . Most of the video is footage of Springsteen performing the song in concert - he wore the same outfit for a few consecutive shows so Sayles could get the shots (Springsteen didn't want to lip-synch). Other footage came from a Vietnamese neighborhood in Los Angeles and Springsteen's old stomping ground, Asbury Park, New Jersey. The video stuck to the true meaning of the song, with shots of factory workers, regular folks walking the streets, soldiers training for combat, and a line of guys waiting for payday loans. Sayles said in the book I Want My MTV: "It was right around the time that Ronald Reagan had co-opted 'Born In The U.S.A.' and Reagan, his policies were everything that the song was complaining about. I think some of the energy of the performance came from Bruce deciding, 'I'm going to claim this song back from Reagan.'"

This was not the first hit song to tell a story about a Vietnam veteran's return to America. In 1982, The Charlie Daniels Band took "Still in Saigon" to #22 in America. That song was written by Dan Daley, who felt that only two artists were right for it. "Since it was such a political song, the strategy was there were only two artists that it would make sense to give it to," Daley told us. "One was Bruce Springsteen and the other was Charlie Daniels. Because both had made public statements in support of Vietnam veterans."

Tougher Than The Rest - Bruce Springsteen

Well It's Saturday night
you're all dressed up in blue
I been watching you awhile
maybe you been watching me too
So somebody ran out
left somebody's heart in a mess
Well if you're looking for love
honey I'm tougher than the rest

Some girls they want a handsome Dan
or some good-lookin' Joe on their arm
Some girls like a sweet-talkin' Romeo
Well 'round here baby
I learned you get what you can get
So if you're rough enough for love
honey I'm tougher than the rest

The road is dark
and it's a thin thin line
But I want you to know I'll walk it for you any time
Maybe your other boyfriends
couldn't pass the test
Well if you're rough and ready for love
honey I'm tougher than the rest

Well it ain't no secret
I've been around a time or two
Well I don't know baby maybe you've been around too
Well there's another dance
all you gotta do is say yes
And if you're rough and ready for love
honey I'm tougher than the rest
If you're rough enough for love
baby I'm tougher than the rest

"Tougher Than the Rest"
Single by Bruce Springsteen
from the album Tunnel of Love
B-side	"Roulette"
Released	June 23, 1988
Format	7" single
Recorded	Between January 1 and May 15, 1987 at Thrill Hill East (Springsteen's home studio)
Genre	Rock
Length	4:35
Label	Columbia
Songwriter(s)	Bruce Springsteen
Producer(s)	Jon Landau, Bruce Springsteen, Chuck Plotkin
Bruce Springsteen singles chronology
"One Step Up" (1988) "Tougher Than the Rest" (1988) "Spare Parts" (1988)

"Tougher Than the Rest" is a song by Bruce Springsteen from his 1987 Tunnel of Love album. It was released as a single in some countries, following "Brilliant Disguise" and the title track, but was not released as a single in the United States. It reached as high as #3 on the Swiss charts, and also reached the Top 20 in the United Kingdom, the Netherlands and Austria

History

Like much of the Tunnel of Love album, "Tougher Than the Rest" was recorded in Springsteen's home studio, called Thrill Hill East, between January and May 1987 with several members of the E Street Band. On this song, Springsteen played several instruments and is backed by Danny Federici on organ and Max Weinberg on percussion. Although it was originally written as a rockabilly song, the final version has a slower and more methodical rhythm.

On the Tunnel of Love album, "Tougher Than the Rest" is the second song, following the acoustic "Ain't Got You", and introduces the sound that will permeate the remainder of the album. The synthesizer sound is layered and melodic and the drum sound is moody, heavy and menacing. Springsteen's vocal is also menacing and boastful as he sings the simple but elegant lyrics detailing his infatuation.

At least one of the singer and the woman he is singing to appear to be on the rebound from prior relationships. The singer recognizes that he is not a "handsome Dan" or a "sweet talking Romeo" and admits that he has "been around a time or two". He is not bothered with the possibility that the woman may have "been around too." Although the singer knows how messy and rough love can be, he claims that he is ready for it, but insists that the woman must also be equally tough and willing to take chancesThe song is in some ways reminiscent of Springsteen's earlier song "Thunder Road", in which the singer wants to take the woman away, even though he tells her that "you ain't a beauty but hey you're alright". But unlike the earlier song, in this song the singer's goals are more realistic — rather than looking to run away with the woman, here he just wants to ask the woman to dance.^[8] In the context of this song the phrase, 'There's another dance, all you have to do is say yes,' is an allusion to taking a chance and falling in love. This is echoed in the song 'Girls in their Summer Clothes' which includes the line 'Love's a fools' dance, I ain't got no sense, but I've still got my feet.'

The music video features live concert footage interspersed with vignettes of couples made at venues on his "Tunnel of Love Express" tour. The video includes both gay and lesbian pairs interspersed with heterosexual couples as representatives of the artist's fans. Springsteen included this explicitly homosexual imagery with neither fanfare nor exploitation. Like several other music videos from the Tunnel of Love album, including "Brilliant Disguise", "Tunnel of Love" and "One Step Up", the video for "Tougher Than The Rest" was directed by Meiert Avis. The video was later released on the VHS and DVD Video Anthology / 1978-88.

Live performance history

"Tougher Than the Rest" has been reasonably popular in live performances. Next to Brilliant Disguise and the title track, this song is third and only other song from the album to receive several appearances live. From the Tunnel of Love Express Tour (where it typically opened the second set) that supported the initial release of the album through July 2005, the song received 98 live performances in concert. A live version of the song, recorded on April 27, 1988 at Los Angeles Memorial Sports Arena was released on the EPChimes of Freedom. That version runs 6:39.

Cover versions

Emmylou Harris recorded the most successful cover version of this song.^[ A cover by Chris LeDoux peaked at number 67 on the Billboard Hot Country Singles & Tracks chart in 1995. Other cover versions have been recorded by Title Tracks, Everything But the Girl, Greg Hawks, The Mendoza Line, Darren Hayes, Travis Tritt, Shawn Colvin, and Camera Obscura. Cher performed the song during her 1990 Heart of Stone Tour and it is included in her Live at the Mirage DVD of that tour. We Are Augustines also covered the song, on their iTunes Session album.

Mark Knopfler & Emmylou Harris - Romeo And Juliet (Real Live Roadrunning...

A lovestruck Romeo sings the streets of serenade
Laying everybody low with a love song that he made
Finds a convenient streetlight steps out of the shade
Says something like you and me babe how about it?

Juliet says hey it's Romeo you nearly gimme me a heart attack
He's underneath the window she's singing hey la my boyfriend's back
You shouldn't come around here singing up at people like that
Anyway what you gonna do about it?

Juliet the dice were loaded from the start
And I bet and you exploded in my heart
And I forget I forget the movie song
When you gonna realize it was just that the time was wrong, Juliet?

Come up on different streets they booth were streets of shame
Both dirty both mean yes and the dream was just the same
And I dreamed your dream for you and now your dream is real
How can you look at me as if I was just another one of your deals?

When you can fall for chains of silver you can fall for chains of gold
You can fall for pretty strangers and the promises they hold
You promised me everything you promised me thick and thin
Now you just say oh Romeo yeah you know I used to have a scene with him

Juliet when we made love you used to cry
You said I love you like the stars above I'll love you till I die
There's a place for us you know the movie song
When you gonna realize it was just that the time was wrong Juliet?

I can't do the talk like they talk on TV
And I can't do a love song like the way it's meant to be
I can't do everything but I'd do anything for you
I can't do anything except be in love with you

And all I do is miss you and the way we used to be
All I do is keep the beat and bad company
All I do is kiss you through the bars of Orion
Julie I'd do the stars with you any time

Juliet when we made love you used to cry
You said I love you like the stars above I'll love you till I die
There's a place for us you know the movie song
When you gonna realize it was just that the time was wrong Juliet?

A lovestruck Romeo sings the streets of serenade
Laying everybody low with a love song that he made
Finds a convenient streetlight steps out of the shade
Says something like you and me babe how about it?
You and me babe how about it

"Romeo and Juliet" is a song by the British rock band Dire Straits, written by frontman Mark Knopfler. It first appeared on the 1980 album Making Movies and was released as a single in 1981.Reviewer Dan Bolles has called the song a "classic". The song subsequently appeared on the Dire Straits live albums Alchemy and On the Night, and later on Knopfler's live duet album with Emmylou Harris, Real Live Roadrunning (though Harris does not perform on the track). The track was also featured on the greatest hits albums Money for Nothing, Sultans of Swing: The Very Best of Dire Straits, and The Best of Dire Straits & Mark Knopfler: Private Investigations.

Composition and lyrical interpretation
The lyrics of the song describe the experience of the two lovers of the title, hinting at a situation that saw the "Juliet" figure abandon her "Romeo" after finding fame and moving on from the rough neighborhood, where they first encountered each other. In addition to the reference to William Shakespeare's play of the same title, the song makes playful allusion to other works involving young love, including the songs "Somewhere" – from West Side Story, which is itself based on the Shakespeare play – and "My Boyfriend's Back". The original recording of the song has been featured in several motion pictures, including Hot Fuzz, Empire Records, and Can't Hardly Wait.

The song opens on an arpeggiated resonator guitar part played by Knopfler, who also sings the lead vocal. The introductory arpeggios and melody are played on a National Style "O" guitar, the same guitar featured on the album artwork for Brothers in Arms and Sultans of Swing: The Very Best of Dire Straits.In the Sky Arts documentary Guitar Stories: Mark Knopfler, "Knopfler picks up the National and demonstrates how he hit on the famous arpeggio lines in "Romeo and Juliet", from the Making Movies album, while experimenting with an open G tuning." The instrumentation remains simple during the verses and moves to a full-on rock arrangement in the chorus sections.

The song itself, written by Knopfler, was inspired by his failed romance with Holly Vincent, lead singer of the short-lived band Holly and The Italians. The song speaks of a Romeo who is still very much in love with his Juliet, but she now treats him like "just another one of [her] deals". Knopfler has both stated and implied that he believes Vincent was using him to boost her career. The song's line "Now you just say, oh Romeo, yeah, you know I used to have a scene with him," refers to an interview with Vincent, where she says "What happened was that I had a scene with Mark Knopfler and it got to the point where he couldn't handle it and we split up."

Covers
The song has become a classic love song with a wide range of artists covering the track. Indigo Girls covered the track in a solo rendition by Amy Ray on the duo's album Rites of Passage.

The song was also covered by Australian musician Lisa Mitchell for Australian radio station Triple J for the Like a Version segment on their breakfast show in 2009. It was also included on the 2009 Like a Version Volume 5 compilation CD and DVD.

It was covered by The Killers in 2007. It was recorded live at Abbey Road Studios for the Channel 4 show Live from Abbey Road and featured as a B-side on "For Reasons Unknown" and on their compilation album Sawdust.

Matt Nathanson covered the song on his Live at the Point album


Personnel[
Mark Knopfler – National Style O resonator guitar, lead guitar, lead vocals, rhythm guitar
John Illsley – bass guitar
Pick Withers – drums, percussion
Additional personnel
Roy Bittan – piano, hammond organ

ARTISTFACTS FOR DIRE STRAITS

• Took the name Dire Straits because it represented their financial condition in the early days.
• In 2001, British scientists named a dinosaur they discovered after Mark Knopfler. They named the dinosaur, which was discovered in Madagascar, "Masiakasaurus Knopfleri" as a tribute to Knopfler.
• Mark Knopfler was a journalist and teacher before joining the band.
• Mark Knopfler's second wife is named Lourdes. They had twin boys in 1987.
• The band's demo cost only $175 dollars to make. The record company was so impressed that they got Spencer Davis Group bassist Muff Winwood (brother of Steve) to produce their debut album.
• They were Princess Diana's favorite rock group.
• Illsley once donated $750,000 to a charity to raise children's awareness of the dangers of drugs.
• At a concert in New Zealand, the Minister of Transport called off a National Stewards' strike so they could make it to their show.
• Before Dire Straits, David Knopfler was a social worker, and Illsley was studying sociology.
• Mark Knopfler has worked on the soundtracks for Local Hero, Comfort and Joy, and Cal.
• Mark Knopfler is left-handed but he plays right-handed; he says that makes him strong at vibratos. (thanks, Gary - Kumla, Sweden)

Mark Knopfler - Telegraph Road (Sevilla 26.07.2015)

The Telegraph Road is a major north-south 70 mile thoroughfare in Michigan. Mark Knopfler was inspired to write this song while riding in the front of the tour bus, which made the journey down Telegraph Road. At the time, Knopfler was reading the novel The Growth Of the Soil by the Nobel Prize winning Norwegian author Knut Hamsun and he was inspired to put the 2 together and write a song about the beginning of the development along Telegraph Road and the changes over the ensuing decades. This was a metaphor for the development of America and the ruining of one man's dreams in the wake of its decline, in particular focusing on unemployment.

Dire Straits – Telegraph Road Lyrics

A long time ago came a man on a track
Walking thirty miles with a sack on his back
And he put down his load where he thought it was the best
He made a home in the wilderness
He built a cabin and a winter store
And he plowed up the ground by the cold lake shore
And the other travelers came walking down the track
And they never went further, and they never went back
Then came the churches, then came the schools
Then came the lawyers, and then came the rules
Then came the trains and the trucks with their loads
And the dirty old track was the telegraph road

Then came the mines, then came the ore
Then there was the hard times, then there was a war
Telegraph sang a song about the world outside
Telegraph road got so deep and so wide
Like a rolling river

And my radio says tonight it's gonna freeze
People driving home from the factories
There's six lanes of traffic
Three lanes moving slow

I used to like to go to work, but they shut it down
I've got a right to go to work, but there's no work here to be found
Yes, and they say we're gonna have to pay what's owed
We're gonna have to reap from some seed that's been sowed
And the birds up on the wires and the telegraph poles
They can always fly away from this rain and this cold
You can hear them singing out their telegraph code
All the way down the telegraph road

You know, I'd sooner forget, but I remember those nights
When life was just a bet on a race between the lights
You had your head on my shoulder, you had your hand in my hair
Now you act a little colder, like you don't seem to care
But believe in me, baby, and I'll take you away
From out of this darkness and into the day
From these rivers of headlights, these rivers of rain
From the anger that lives on the streets with these names
'Cause I've run every red light on memory lane
I've seen desperation explode into flames
And I don't want to see it again

From all of these signs saying, "sorry, but we're closed"
All the way
Down the telegraph road
Songwriters: KNOPFLER, MARK
Telegraph Road lyrics © Universal Music Publishing Group


"Telegraph Road" is a song by British rock band Dire Straits and written by Mark Knopfler. It appeared on their 1982 album Love over Gold.

It was first played live at the opening concert of their "Making Movies" Australian tour (Perth Entertainment Centre, 22 March 1981) as the final encore. The song became a staple of Dire Straits and Mark Knopfler concerts.

The band played a slightly shorter version of the song on their 1984 album Alchemy: Dire Straits Live and a remixed version of that performance was included in their 1988 greatest hits album Money for Nothing. The original studio album version was included as the opening track on The Best of Dire Straits & Mark Knopfler: Private Investigations.

Interpretation

Inspired by a bus trip taken by Knopfler, the lyrics narrate a tale of changing land development over a span of many decades along Telegraph Road in suburban Detroit, Michigan. In the later verses, Knopfler focuses on one man's personal struggle with unemployment after the city built around the telegraph road has become uninhabited and barren just as it began.

In an interview on RockLine, a "rock radio network" call-in show, broadcast live on 10 May 1983, Mark Knopfler said, while on tour, he... "in fact was driving down that road and I was reading a book at the time called Growth of the Soil [by the Norwegian author Knut Hamsun], and I just put the two together. I was driving down this Telegraph Road... and it just went on and on and on forever, it's like what they call linear development. And I just started to think, I wondered how that road must have been when it started, what it must have first been. And then really that's how it all came about yeah, I just put that book together and the place where I was, I was actually sitting in the front of the tour bus at the time." 

Composition

The song starts out with a quiet crescendo that lasts almost two minutes, before the song's main theme starts. After the first verse, the main theme plays again, followed by the second verse. After a guitar solo, a short bridge slows the song down to a quiet keyboard portion similar to the intro, followed by a slow guitar solo. Next, the final two verses play with the main theme in between. The main theme is played one last time, followed by a slightly faster guitar solo lasting about five minutes and eventually fading out.
Personnel[edit]
Mark Knopfler – vocals, electric guitar and resonator guitar
John Illsley – bass guitar
Hal Lindes – electric guitar
Alan Clark – piano, organ, synthesizers
Pick Withers – drums

IMRI - I Feel Alive (Israel) LIVE at the Grand Final of the 2017 Eurovis...Came in 23rd with 37 points

I Feel Alive

The secret of my life 
Is never givin' up 
Now I'm close to you
Walking through the stars 
Brings me to the start 
When I walk with you

I was waiting way too much
For something good to come 
And I'm a bit fragile 
Was waiting way too much 
It's like an hourglass 
And you're like trouble 

Breaking me to pieces 
I wanted you to know that 
Every piece broke from you 
Breaking me to pieces 
'Coz every time 
You come around 
I feel alive 
Now I'm trying 
I'm trying 
I feel alive!
I feel alive!

The years I've been alone 
Far away from home 
Reminded me of you
My job is almost done
Baby I can now
Escape away with you 

I was waiting way too much
For something good to come 
And I'm a bit fragile 
Was waiting way too much 
It's like an hourglass 
And you're like trouble 

Breaking me to pieces 
I wanted you to know that 
Every piece broke from you
Breaking me to pieces 
'Coz every time 
You come around 
I feel alive 
Now I'm trying 
I'm trying 
I feel alive!
So alive
Alive, alive, alive

Breaking me to pieces 
I wanted you to know that 
Every piece broke from you
Breaking me to pieces 
'Coz every time 
You come around 
I feel alive





Imri Ziv has been chosen to represent Israel in the Eurovision Song Contest finals
Who is Imri Ziv?

Imri Ziv was born on September 12, 1991 in Hod HaSharon, Israel.

The 25-year-old singer was one of the auditionees for the first ever series of The Voice Israel and had two of the four judges turn their chair for him.

He was eventually eliminated in the battle rounds.

He also works as a voice actor and lent his vocal skills to the Hebrew version of the 3D animation Trolls.
How was Imri Ziv chosen to represent Israel?

Imri Ziv entered a national competition to become the artist that would represent Israel in this year’s Eurovision Song Contest.

The show, HaKokhav HaBa L’Eurovizion, was organised by the Israel Broadcasting Authority and involved five audition shows, quarter finals, semi finals and the grand final on February 13.

Imri Ziv stormed to victory after winning the public vote on the mobile app.



3The Israeli singer will be performing his song I Feel Alive

What song is Imri Ziv performing?

Imri is singing the song I Feel Alive, which was written by Dolev Ram and Penn Hazut.
What are the odds on Israel winning?

At the time of writing, SunBets list the odds of Israel winning at 250/1.

But it’s still all to play for and anyone could win on the night.