Showing posts with label Self Portrait. Show all posts
Showing posts with label Self Portrait. Show all posts

Monday, August 17, 2015

Take Me As I Am (Or Let Me Go)

When we date people,
They want to change us. Please don't.
I am who I am.

Here's a Boudleaux Bryant song from the 1970 album "Self-Portrait," the second cover by him to appear there. It's a complaint about a lover who keeps trying to reshape the singer's image to suit him (or her).

Why must you always try to make me over
Take me as I am or let me go
White lilies never grow on stalks of clover
Take me as I am or let me go

You're trying to reshape me like your old love
In the image of the one you used to know
But I won't be a stand in for an old love
Take me as I am or let me go

You're trying to reshape me like your old love
In the image of the one you used to know
But I won't be a stand in for an old love
Take me as I am or let me go





Take a Message to Mary

Frontier lad gone bad
Goes to jail, and hopes Mary
Doesn't find out why.

"Take a Message to Mary" is an Everly Brothers song, written by the songwriting team of Felice and Boudleaux Bryant. Bob Dylan covered it in the 1970 album "Self Portrait." He and producer Bob Johnston give the song a sappy arrangement typical of the times with saccharine female backup vocals and various other accoutrements that you would expect from a TV variety show special of the time. In short: frontier boy turns bad, robs a stagecoach, presumably shoots someone by accident, goes to jail for life, and asks someone to please not tell his girlfriend Mary what he did because he's ashamed of himself. He would rather she believe that he abandoned her, which to me seems at least as bad as saying you turned into a criminal. At least a prison sentence would convey the idea that he's still in love with her, but a victim of his own stupidity, whereas leaving her because he had wandering feet makes him sound like an asshole. But you know what? This has never happened to me, so I can't speak for this young man.

These are the words of a frontier lad
Who lost his love when he turned ba-ad
Take a message to Mary but don't tell ‘er where I am
Take a message to Mary but don't say I'm in a jam
You can tell her I had to see the world or tell ‘er that my ship set sail
You can say she better not wait for me but don't tell her I'm in jail
Oh, don't tell her I'm in jail
Take a message to Mary but don't tell ‘er what I've done
Please don't mention the stagecoach and the shot from a careless gun
You can tell her I had to change my plans and cancel out the wedding day
But please don't mention my lonely cell where I'm gonna pine away
Until my dying day
Take a message to Mary but don't tell ‘er all you know
My heart's achin?for Mary, Lord knows I miss her so
Just tell her I went to Timbuktu, tell her I'm searchin?for gold
You can say she better find someone new to cherish and to hold
Oh, Lord, this cell is cold
Ma-ary, Ma-a-a-a-ary
Oh, Lord this cell is cold








Saturday, July 11, 2015

Minstrel Boy

Minstrel sings for cash
While Lucky's stuck on a hill,
Lonely with ladies.

"Minstrel Boy," which appears on the 1970 album "Self Portrait," is not the same song as "The Minstrel Boy," an Irish song written by Thomas Moore in the late 18th or early 19th century to commemorate the men from Trinity College in Dublin who fought in and were killed in the Irish Rebellion of 1798 (So says Wikipedia). This is an all together stranger song whose words to me are unclear and disjointed. Dylan sang it with the Band at the Isle of Wight festival in 1969, and it's that version that appears on the album.

Chorus:
Who’s gonna throw that minstrel boy a coin?
Who’s gonna let it roll?
Who’s gonna throw that minstrel boy a coin?
Who’s gonna let it down easy to save his soul?

Story 1: Lucky
Lucky has 12 gears on his rig, and he's been driving a long time. He's stuck on top of a hill now with a bunch of ladies, yet he's lonely.

Story 2: Mighty Mockingbird
Mighty is "deep in number and heavy in toil," and he has a large load to bear. Dylan says he's underneath his own boundaries and that there's no more to the story other than his traveling. And then he changes the words to first person, saying "I'm still on that road."

I didn't see an effective way to handle the song, so I stuck with the story of Lucky and the plight of the minstrel boy.




Wednesday, July 8, 2015

Quinn the Eskimo (The Mighty Quinn)

Quinn the Eskimo
Makes people doze, run and jump.
He attracts pigeons.

"Quinn the Eskimo (The Mighty Quinn)" is the bizarre breakout hit from the Basement Tapes sessions, though not for Bob Dylan. Manfred Mann scored a big hit with it in 1968. Dylan's versions appeared on the Self Portrait album (a live version recorded at the Isle of Wight festival with the Band), his Greatest Hits Volume II album (same version) and on his 1975 album of overdubbed sessions from the Basement Tapes days (not true). There are more takes on volume 11 of the Bootleg Series. The song is about as silly as they come, but that's part of the charm:

Ev’rybody’s building the big ships and the boats
Some are building monuments
Others, jotting down notes
Ev’rybody’s in despair
Ev’ry girl and boy
But when Quinn the Eskimo gets here
Ev’rybody’s gonna jump for joy
Come all without, come all within
You’ll not see nothing like the mighty Quinn

I like to do just like the rest, I like my sugar sweet
But guarding fumes and making haste
It ain’t my cup of meat
Ev’rybody’s ’neath the trees
Feeding pigeons on a limb
But when Quinn the Eskimo gets here
All the pigeons gonna run to him
Come all without, come all within
You’ll not see nothing like the mighty Quinn

A cat’s meow and a cow’s moo, I can recite ’em all
Just tell me where it hurts yuh, honey
And I’ll tell you who to call
Nobody can get no sleep
There’s someone on ev’ryone’s toes
But when Quinn the Eskimo gets here
Ev’rybody’s gonna wanna doze
Come all without, come all within
You’ll not see nothing like the mighty Quinn






Wednesday, July 1, 2015

Living the Blues

They all let him know
His gal has a new lover.
Now he has the blues.

This is one of Bob Dylan's milder songs, released in 1970 on the "Self Portrait" album. It's a relaxed country song that tells a familiar tale.

1. My head's been down to my shoes since you've left. In fact, I've been living the blues.
2. I know where you are and what you're doing because strangers tell me what you're up to.
3. I need to forget my pride and take some time off to recover, but I still have feelings.
4. If you knew just how upset I was because of your departure, you surely would come back.



Saturday, June 27, 2015

Let It Be Me

Don't break up with him.
There's no life without your love.
Don't leave him lonely.

This is an English version of the song "Je t'appartiens" by Gilbert Becaud and Pierre Delanoe. Tons of singers have done this one. Dylan recorded it for the 1970 album "Self Portrait." It's one of the numerous cover versions of middle-of-the-road pop music that people see as Dylan's confounding attempt to shed his status as a seer and a musical visionary, and to take on the guise of just another singer who's not beset by batshit-crazy fans. I've also included a rare version from the sessions for the 1981 album "Shot of Love." 

I bless the day I found you
I want to stay around you
And so I beg you
Let it be me

Don't take this Heaven from one
If you must cling to someone
Now and forever
Let it be me

Each time we meet, love
I find complete love
Without your sweet love
What would life be?

So never leave me lonely
Tell me you love me only
And that you'll always
Let it be me

Each time we meet love
I find complete love
Without your sweet love
What would life be?

So never leave me lonely
Tell me you love me only
And that you'll always
Let it be me






Saturday, June 20, 2015

It Hurts Me Too

I can feel your pain.
You should be with me. If not,
You will hurt us both.

I find it fairly engaging, but this take on the Tampa Red song can't measure up to the original. This appears on the 1970 album "Self Portrait."

1. Don't change your mind about me.
2. I want to be your lover, baby, I don't want to be your boss.
3. Come back to me.
4. I wouldn't mistreat you.

"When things go wrong, so wrong with you,
It hurts me too."



Monday, June 15, 2015

In Search of Little Sadie

Man murders Sadie.
He tries to flee and is caught.
He goes to prison.

"In Search of Little Sadie" has many antecedents in American music, including the songs:
Bad Lee Brown
Cocaine Blues
Transfusion Blues
East St. Louis Blues
Late One Night
Whiskey Blues
Chain Gang Blues
Bad Man Ballad
Bad Man's Blunder
Ode to Bad Bill
and
Penitentiary Blues

The story is simple and grim: A man shoots his lover, flees, is caught, returned and sentenced to prison, and feels really bad about it.

Dylan recorded the song twice, once as "In Search of Little Sadie," and again as "Little Sadie." They appear on the same album, the ultimately unknowable "Self Portrait" of 1970. 

Here are Dylan's lyrics:

Went out last night to take a little round.
I met my little Sadie and I brought her down.
I ran right home and I went to bed
With a forty-four smokeless under my head.

I began to think what a deed I'd done.
I grabbed my hat and I began to run.
I made a god run but I ran too slow;
They overtook me down in Jericho

Standing on a corner a ringin' my bell,
Up stepped the sheriff from Thomasville.
He said 'Young man is you name Brown?
Remember you blowed Sadie down."

"Oh yes sir, my name is Lee. (NOTE THE CHANGE OF NAME EVEN AS HE ADMITS THE CRIME. WHO DOES THAT EXCEPT TO PRESERVE A RHYME?)
I murdered little Sadie in the first degree.
First degree and second degree.
If you've got any papers will you serve them to me?"

Well they took me down town and they dressed me in black,
They put me on a train and they sent me back.
I had no one to go my bail;
They crammed me back into the county jail.

Oh, yes they did.
The judge and the jury they took their stand.
The judge had the papers in his right hand.

Forty-one days, forty-one nights;
Forty-one years to wear the ball and the stripes;
Oh, no!

Went out last night to take a little round.
I met little Sadie and I blowed her down.
I ran right home and I went to bed,
A forty-four smokeless under my head.





Saturday, June 13, 2015

I Forgot More Than You'll Ever Know

Man tells other man
How his ex dumped him, and says
The other guy's next.

"I Forgot More Than You'll Ever Know About Her" gets the saccharin treatment on the 1970 album "Self Portrait," the record that set the standard for big flops when it came out. Fortunately, it's been rehabilitated through the ardent work of hipsters about my age and other perverse revisionists who consider it a work of genius. It's certainly not a work of genius, but it is a work of competence and it is entertaining. Maybe that's what bothered people at the time. Dylan lost the folkies by going electric. Then he was rude and snotty to everyone at press conferences and various other venues, and denied the protest singer crown. Then he disappeared and changed his style not once, but three more times (from electric rock to quiet pop to Nashville country to TV variety show string section by the time 1970 rolled around). Hearing Dylan be just an entertainer wasn't up to the standards of the kid whom everyone had labeled a genius. Songs like this one are just the type of thing that audiences didn't want to hear from Dylan. Now, about the song: there's nothing wrong with it. It's just pure musical sugar, and I am sure that plenty of people don't care for listening to Dylan croon. The original version, by Skeeter Davis and Betty Jack Davis, is a typical country-and-western lament about losing in love and telling off the next guy (or gal) to take your place. Skeeter's version is about a guy. Bob's, of course, is about a girl.

You think you know the smile on her lips
The thrill and the touch of her fingertips
But I forgot more than you'll ever know about her.

You think you'll find heaven of bliss
In each caress, in each tender kiss
But I forgot more than you'll ever know about her.

You stole her love from me one day
You didn't care, oh, it hurt me
But you can never steal away memories of what used to be.

You think she's yours, to have and to hold
Someday you'll learn, when her love grows cold
But I forgot more than you'll ever know about her.

Here are versions by Bob and Skeeter. Then there's the original one by the Davis sisters. Skeeter's sister Betty Jack died in a car crash a week after the song was release.





Monday, May 25, 2015

Gotta Travel On

My feet itch again.
Time to hit the road. I might
Go home forever.

"Gotta Travel On" appears on the "Self Portrait" album from 1970. It's a shuffling, slightly funked-up version of an earlier folk song by Paul Clayton, who killed himself in 1967, reportedly by adding an electric heater to his bath. The song is basic enough:

1. I've been around this town too long. Winter's coming.
2. Going home to stay.
3. I'll catch a train and go home hobo-style.

In all this is a great verse that captures emotional anguish with an outsider's cold precision. I'm just not sure what it has to do with the rest of the song.

Papa writes to Johnny, Johnny can't come home
Johnny can't come home, Johnny can't come home
Papa writes to Johnny, Johnny can't come home
Johnny's been out on the road too long

I don't see how Johnny can be the narrator of the rest of the song since Johnny can't come home. Details...

Side note: Dylan credits Clayton and three other songwriters with authorship. I don't know if that's true, but it seems likely. I do know that I've seen it credited to Webb Pierce, but that might not be true either. There are early versions of the song by the Kingston Trio and Billy Grammer. Then there are versions by Bill Monroe, Bobby Bare, Harry Belafonte and Glen Campbell, not to mention others.














Wednesday, May 13, 2015

Early Morning Rain

Woman hops a plane.
Her lover can't come with her.
He pines on the ground.

Bob Dylan recorded Gordon Lightfoot's "Early Morning Rain" for his 1970 hodgepodge of a double album, "Self Portrait." (I love the album, but it's a hodgepodge). It's full of that melancholy that singer-songwriters slathered into their songs in the countrified interim between the oldies of the '60s and the, well, oldies of the '70s. (You know what I mean -- the time when music broke through the mono barrier and started being recorded as it ought to sound on FM radio) Dylan doesn't deviate from Lightfoot's lyrics, which I could swear I've been through in real life so often that it feels like putting on my favorite pair of shoes. Except for the drunk part. I don't go to the airport fence on cold days in drunken states. But everything else, the 707 plane and the majesty of the phrase "silver bird on high," and the weird techno-sentimentality of "Out on runway number nine," not to mention that unique feeling of an early morning rain in the United States, gray and cold and final -- all that works for me.

In the early morning rain with a dollar in my hand
And an aching in my heart and my pockets full of sand
I'm a long way from home and I miss my loved one so
In the early morning rain with nowhere to go.

Out on runway number nine, big 707 set to go
I'm stuck here on the ground, where the cold winds blow
The liquor tasted good and the women all were fast
There she goes, my friend, she's rolling down at last.

Hear the mighty engines roar, see the silver bird on high
She's away and westward bound, far above the clouds she'll fly
Where the morning rain don't fall and the sun always shines
She'll be flying over my home in about three hours time.

This old airport's got me down, it's no earthly good to me
Because I'm stuck here on the ground, cold and drunks as I might be
You can't hop a jet plane like you can a freight train
So I'd best be on my way in the early morning rain.




Monday, February 9, 2015

Days of '49

Goldminer memoir
Of the bawdy good old days
And his saucy crew.

This is a faux-folk song, or maybe it's not even faux as I don't know how old a song has to be to be considered an antique. It's by John and Alan Lomax as well as another guy named Warner, about whom I know little. Bob Dylan recorded it for the 1970 album "Self Portrait." It's a straightforward tale of a derelict gold miner reminiscing about the good old days with his crew during the California gold rush. Or maybe they were the bad days. It seems like everyone winds up dead, usually because they were drinkers, gamblers, malingerers and prone to violence. I used the word "saucy" to refer directly to one of the lyrics, all of which are pasted below. Dylan's vary from the original song.

I'm ol' Tom Moore from the bummers shore in the good old golden days They call me a bummer and a ginsot too but what cares I for praise I wander around from town to town just like a rovin' sign And all the people say, "There goes Tom Moore in the days of 49" In the days of old, in the days of gold How often times I repine For the days of old, when we dug up the gold In the days of 49 My comrades, they all loved me well, a jolly, saucy crew A few hard cases I will recall though they all were brave and true Whatever the pitch they never would flinch They never would fret or whine Like good old bricks, they stood the kicks in the days of 49 In the days of old, in the days of gold How ofttimes I repine For the days of old, when we dug up the gold In the days of 49 There was New York Jake, the butcher's boy He was always getting tight And every time that he'd get full, he was spoiling for a fight Then Jake rampaged against a knife in the hands of ol' Bob Stein And over Jake they held a wake in the days of 49 In the days of old, in the days of gold How often times I repine For the days of old, when we dug up the gold In the days of 49 There was Poker Bill, one of the boys who was always in a game Whether he lost or whether he won, to him it was always the same He would ante up and draw his cards and he would you go a hatful blind In a game with death, Bill lost his breath, in the days of 49 In the days of old, in the days of gold In the day's times I repine In the days of old, in the days of gold Those were days of 49 There was ragshag Bill from Buffalo, I never will forget He would roar all day and he'd roar all night and I guess he's roarin' yet One day he fell in a prospect hole in a roaring bad design And in that hole he roared out his soul in the days of 49 In the days of old, in the days of gold How ofttimes I repine For the days of old, when we dug up the gold In the days of 49 Of the comrades all that I've had, there's none that's left to boast And I'm left alone in my misery like some ol' poor wandering ghost And I pass by from town to town, they call me 'The Rambling Sign' There goes Tom Moore, a bummer sure in the days of 49 In the days of old, in the days of gold How often times I repine For the days of old, when we dug up the gold In the days of 49 In the days of old, when we dug up the gold How ofttimes I repine In the days of old, in the days of gold In the days of 49, oh...
Here's a version by Kyle Thompson.



Saturday, February 7, 2015

Copper Kettle

Here's a good date night:
Let's make illegal moonshine
And cuddle outside.

"Copper Kettle" appeared on Bob Dylan's 1970 album "Self Portrait" with string accompaniment and backup singers doing the "bum-bum-bum" thing at intervals. If you thought that making illegal moonshine in the backwoods with hillbillies were anything other than romantic, think again. Evading the tax man and downing some white lightning with your beau is exactly what the singer proposes that he and his girl do. The song was written by Albert Frank Beddoe, and popularized by Joan Baez. On an album that many people couldn't stand, "Copper Kettle" was regarded as one of the standout tracks.

Instructions for date night:
1. Get kettle, coil
2. Fill with corn mash
3. Lay with me by the juniper in the moonlight
4. Watch the jugs fill
5. Preserve tradition since 1792 of not paying whiskey taxes.
Here are the lyrics, with chords:

G Am7 G Am7 G Am7 G Am7 Get you a copper kettle, get you a copper coil, G Am7 G Am7 C /b Am Fill it with new-made corn mash and never more you'll toil. C G You'll just lay there by the juniper C G while the moon is bright, C /b Am Watch them jugs a-filling C(maj7) G In the pale moonlight. G Am7 G Am7 G Am7 G Am7 Build you a fire with hickory, hickory, ash and oak, G Am7 G Am7 C Don't use no green or rotten wood; they'll get you by the smoke. G C You'll just lay there by the juniper G C while the moon is bright, G C Watch them jugs a-filling G In the pale moonlight. G Am7 G Am7 G Am7 G Am7 My daddy, he made whiskey; my granddaddy, he did too. G Am7 G Am7 ^Am C We ain't paid no whiskey tax since 1792. G C You'll just lay there by the juniper G C while the moon is bright, G C Watch them jugs a-filling G In the pale moonlight. C G In the pale moonlight.



Monday, January 26, 2015

Bring Me a Little Water

With Sylvie around,
Bob lacks for nothing, but he
Still wants some water.

This appears to be a variation on the title "Bring Me Little Water Sylvie," which I understand was written by Leadbelly, though I don't know that for sure. Bob recorded it during the "Self Portrait" sessions in 1970, but it wasn't released until volume 10 of the Bootleg Series. Sylvie appears to be a nice girl from Florida who lacks for nothing in the department of serving her man:

Sylvie is a good ol' girl
                      G
From Florida, so they say.
    C       C7        F     Dm7-5
She came up here last April
   C         G     C
To pass some time away.
            
Now, won't you bring me a little water, Sylvie?
Bring me a little water now
Bring me a little water, Sylvie
For my tired brow
            
Sylvie came here Wednesday
She came this morning by the light of the dawn
She comes up here now nearly all of the time
to see if she can carry on
            
Sylvie says she loves me
she says it all of the time
she always gets behind me
when the hill is too high to climb
            
She brings me milk and honey
Brings me slop and beans
brings me coconuts and candy

brings me turnip greens



Sunday, January 25, 2015

The Boxer

Having decided
He's a tragic boxer type,
A loser goes home.

Bob Dylan recorded Simon & Garfunkel's "The Boxer" for his 1970 album "Self Portrait." Whether the album really was Dylan's attempt to shake off fans and fame by recording a bunch of other people's pop hits, soft vocal standards and his own b-team music is up for debate. What's undeniable is that his version of this song borders on parody. As one music critic, I forget who, said of this cover that Dylan's voice is double tracked and neither voice is on time or on key or in sync with the other. It sounds to me like an intentionally horrible piss take on the original, which is one of Simon & Garfunkel's most soaring and big moments on tape. As with most of Dylan's lesser moments, however, this one in its short, stark simplicity grew on me after a while, if only because I like seeing just how far you can go with a song before you break it.





Wednesday, January 21, 2015

Blue Moon

Thanks to the blue moon,
Lonely man gets the woman
He was hoping for.

This is Bob Dylan's rendition of Elvis Presley's 1956 version (or Frank Sinatra's version?) of a 1934 song by Richard Rodgers and Lorenz Hart. The original version of the song was meant for Jean Harlow to sing in the movie "Hollywood Party," expressing her hope to become a movie star. The song went unused in the film, and was copyrighted as "Prayer (Oh lord, make me a movie star)." I like its repeated use in the John Landis film, "An American Werewolf in London."

The song, as Bob recorded it for 1970's "Self Portrait," features a guy wishing on a blue moon to send him someone to fall in love with.

Blue moon You knew just what I was there for You heard me saying a prayer for Someone I really could care for And then there suddenly appeared before me The only one my arms will hold I heard somebody whisper please adore me And when I looked to the moon it turned to gold Blue moon Now I'm no longer alone Without a dream in my heart Without a love of my own

Here's a studio session from the time with Bob giving it a whirl. It's not what you hear on the final "Self Portrait" album.



Saturday, January 17, 2015

Belle Isle

Man in a disguise
Tempts his girlfriend to cheat, but
She proves quite faithful.

Operetta-style comedy from this song released on Dylan's 1970 album "Self Portrait." Guy spies a good-looking woman working in Scotland or Ireland or wherever Loch Eiron is (It doesn't appear to exist). He notes that she's hot, but stops short of suggestion that they get together. She says she's a poor, hard-working lass, and more's the point, she can't entertain untoward suggestions from strange men because she's promised to another and waiting for him to return from some journey somewhere. At this point, he reveals that he has come in disguise and indeed is that very same man. Naturally, he probably expects her to be overjoyed. Were I the woman in question, I would have been annoyed by this man's insistence that he could go off wherever he likes, and then be so mistrustful as to try to catch his girl out as a cheat. As it happens, we don't know how the woman responds because Dylan ends the song on the young man's removal of his disguise. That he ends the song claiming that he has been true to must have been cold comfort to the poor gal who has discovered only too late what a cretin she's been dating.

Here is the version of the song that Dylan released on the Self Portrait entry in the Bootleg Series. The version released on the 1970 album contains string orchestra overdubs, which some people complain made it saccharine. They're right, but I've grown used to it. Here is the Bootleg Series version, which is considerably stripped down.



Monday, January 12, 2015

All the Tired Horses

The horses are tired.
How can we ride them? PS:
The horses are tired.

The opening song of Dylan's 1970 album "Self Portrait" confounds many fans. Two women sing, "All the tired horses in the sun, how'm I supposed to get any ridin' done? Hmmmmm..... All the tired horses in the sun, how'm I supposed to get any ridin' done? Hmmmm...." They sing that several more times over a pretty guitar chord and strings as lush as the camerawork and as gaudy as the extramarital affair between Kirk Douglas and Kim Novak in "Strangers When We Meet." Then the song ends. We hear the question a lot, but we never find out how the ladies are going to get the riding done. One singer whose voice we don't hear on the song: Dylan's.


Saturday, January 10, 2015

Alberta #1

Bob would pay this girl
To let down her long, long hair
And improve his mood.

This is an old Leadbelly standard, and he liked it enough to record it four times. It's a fun little song, considering that all the singer wants is for Alberta to let her hair down, to the extent that he will pay her to do it (more gold, in fact, than her apron can hold). Not only that, Alberta keeps the singer worried and bothered and apparently treats him unkindly. I suppose you could read some innuendo into lines like that, especially as one of Leadbelly's versions asks Alberta to "take him down" into her rocking chair, and I suspect that rocking chairs aren't always rocking chairs.

Dylan recorded this as "Alberta #1" and "Alberta #2" for the 1970 album "Self Portrait," which is genius or a disaster, depending on how you look at it. It's from the period in which he was playing with Nashville session men and women, and I have written here before about how I like the warm, sweet sound of these times. The same goes for "Self Portrait," which for whatever else you might think of it, is erratic. There also is an "Alberta #3," but that didn't surface until the release of "The Bootleg Series, Vol. 10: Another Self Portrait (1969-1971)," which contains many outtakes from the "Self Portrait" and "New Morning" sessions.

Here's a strange, but charming cover of the song that I found on YouTube by someone called Eric Frostic.


Monday, May 24, 2010

She Belongs to Me (Self-Portrait)

Watch out for this one.
If you're searching for a gem,
Try another song.