L>We Five"s "You were on my Mind", Ode come a Sometimes-Maligned Song, through Charles H. Smith

us Five"s "You were on my Mind": Ode to a Sometimes-Maligned track through Charles H. Smith, western Kentucky college In the fall of 1965 the California pop/folk group We 5 had a major national hit when they released your adaptation the the Sylvia Fricker- (of Ian and also Sylvia fame) penned song "You were on my Mind." The single crashed the top 5 just about everywhere, getting to number one in some markets and also even controlling top-ten-for-the-year ranking in a couple of places (for example on the station I listened to as a teenager, WDRC in Hartford, Connecticut, whereby it ended up at number nine for 1965, and on Billboard, where it uncovered its means to number four). A small over a year later, one obviously we Five-influenced cover of the tune by Crispian St. Peters walk just as well in Britain, proving that its success below was no fluke. We five had fairly little success other than with this one release, though their small body the work has some pleasant duration explorations within the general world of folk, pop, and also Broadway. Your lead singer, Beverly Bivens, possessed one of the loveliest voices of the era, but she retirement from advertising music-making simply a year later, and the band was forever doomed to "one-hit-wonder" status. There has been a growing tendency over the year for miscellaneous sources to shot to more marginalize their already little place in music history by complaining that their adaptation of Fricker"s track cheapened it. Indeed, the group did take it a many liberties with Fricker"s original composition, changing words here and there, substituting all sorts that chords, and generally transforming it into a brand-new product. Some have actually castigated the group, for example, for leaving the end a section in the 2nd verse wherein Fricker"s initial protagonist gets drunk and sick prior to coming home: that is, because that "cleaning it up" so as to be "more appropriate" because that a mass market. I totally disagree through this appraisal. While Fricker"s original version functions perfectly well in that country/folk setup as a an easy story the a failed relationship, we Five"s manipulation that its starting point elevated the product come a wholly brand-new level. Prior to trying to safeguard this assertion, let"s take it look at the text to the track as typically given top top the internet (these space not exactly Fricker"s original lyrics, yet instead a hybrid of numerous online attempts come reproduce the group"s version), and compare them v what ns heard indigenous a really close listening come the actual power recently, indigenous the CD repertoire Two standard Albums from us Five. Mine punctuation in the latter rendition comes from both what ns hear being sung, and what appears to make grammatical sense, in context: usual printing of lyrics on the internet purporting to it is in what We five sings: as soon as I woke up this morning You were on my mind and you to be on my mind I obtained troubles, whoa-oh I acquired worries, whoa-oh I obtained wounds to tie So I saw the corner Just to ease my pains Yeah, just to lull my pains I acquired troubles, whoa-oh I obtained worries, whoa-oh ns came house again when I wake up up this morning You were on my mi-i-i-ind and also You were on my mind I gained troubles, whoa-oh I acquired worries, whoa-oh I acquired wounds come bind and also I gained a feelin" under in my sho-oo-oo-oo-oes, said method down in mine sho-oo-oes Yeah, I gained to ramble, whoa-oh I acquired to move on, whoa-oh I gained to walk away my blues when I wake up up this morning You to be on my mind You were on mine mind I obtained troubles, whoa-oh I acquired worries, whoa-ohI acquired wounds to tie What We 5 actually sings: as soon as I woke up this morning You to be on my mind, And... You were on mine mind. I"ve acquired troubles, woe, five woe, I got worries, woe, five woe, I acquired wounds come bind. So I went to the corner Just to lull my pai-ai-ai-ai-ain-- (I said,) just to lull my pain. I acquired troubled (woe, five woe), I acquired worried (woe, oh woe), i came house again. But I woke up this morning and also you to be on mine mi-i-i-ind, Then... You to be on mine mind! Well, I got troubles, woe, five woe, I acquired worries, woe, oh woe, I got wounds come bi-ind! Hey, and I"ve gained a feelin" down in my sho-oo-oo-oo-oes-- < --------- ? > means down in my sho-oo-oes-- That ns gotta ramble, woe, five woe, ns gotta relocate on, woe, five woe, ns gotta walk far my blu-ues! as soon as I woke up this morning You were on mine mi-i-i-i-ind, Then... You to be on mine mind... Hey! I obtained troubles, woe, five woe oh, I obtained WOR-ries, woe, oh woe oh, I got wounds come bi-i-i-ind! The distinctions individually may not at an initial seem so really substantial, but cumulatively they end up offering We Five"s variation a looming strength Fricker"s original never had. Recall first that the "cleaned up" version leaves out the line around getting drunk and sick. In therefore doing, a little bit of vagueness is injected into the lyrics that pipeline the listener can not to conclude simply what or who really IS ~ above the protagonist"s mind. In other words, the song easily switches native "girl loses boy" fare to illustrating something the is potentially a good deal more ominous. The load of this dramatic an equipment is accented through the often maligned repeating, through slight variations, that the second line in the first, third, and fifth verses. In we Five"s variation as i hear it, over there is one actual pause in the singing after the very first word of the 3rd line in verses one, three, and five (one "and" and two "then"s"), a maker one supposes is provided to suggest not only that "you to be on my mind" yet that try as he (or she, of course) may, the protagonist cannot obtain past this barrier to his concentration--that is, the on waking up this is not only the an initial thought, but the only possible thought. He then goes "to the corner" for some relief, yet by (perhaps as we may believe) the following day"s morning, has actually still been unable to escape his torment. The rest of the song, performed through ever-increasing intensity, end up v nothing brief of a scream, a cry for help. Currently maybe friend think I"m being melodramatic here, however just why perform you suppose the protagonist end up acquisition a walk come the corner? In Fricker"s version, we know well enough: to obtain blasted come forget about Mr. Ex-boy-toy. In the We 5 version, no one of this is developed in, and we start to build our own, frequently troubling scenarios... Possibly we room dealing below with a heroin addict, and also the "you" in the tune is his habit--it seems evident enough what a "trip to the corner" might mean in this instance, and how in the end the results of the trip can not do lot toward relieving the problem. Or perhaps the protagonist is a shell-shocked armed forces veteran, now cowering in a barren apartment, can not to shower the memory of seeing his closest friend blown come shreds ten feet far from him during the last war: a drink through some buddies in ~ the corner pub won"t finish up making even a dent in that kind of pain... Or maybe he/she is a now-in-tatters fifteen year old runaway life on the street, thinking of mom yet still unable to resolve the memory of his/her sex-offending father... Or a quit housewife... Or a yes, really soured lossc of a love partnership gone bad... Unfortunately, there are a lot of "you"s" in the human being whose lives might be inundated by together pain and hurt, and also we acquire to take it our pick. And all of this sung through a squeaky-clean-looking bunch of university youngsters from southerly California--as if to remind united state that in the stormy years of the so late twentieth century, it has actually not only been the dregs of society who have actually been banished to together fates. The musical arrangement and exact words as sung by We five cleverly contribute to the drama. The important lead-in top top drums and also bass is proper an uneasy shuffle, maybe designed to mimic a disturbed, hypnogogic dream state. But then the last note, punctuated top top guitar, intervenes, and also the protagonist is rudely awakened. The summary of events starts in the past tense, but then the confessional conveniently switches into existing tense: "I obtained troubles, woe, oh woe"... I don"t recognize where the "whoa-oh" came from in most transcriptions the their analysis of the song, but they space actually singing "woe, five woe," as plainly can be heard, and besides, this wording far better suits both the immediate setup and a recommendation to the old lament "woe five woe is me." In the 2nd verse the straightforward theme of the attempt to escape the ache of the situation is presented via the "went come the corner" device. In many transcriptions one look at the many word "pains" finishing the second and third lines, however We 5 actually song "pain," which rises emotional focus. Further, in the fourth and also fifth lines the indigenous "troubles" and also "worries" space not repetitive from the first verse; instead the past tense "troubled" and "worried" is employed, providing a actual reason for the next, rather merely stated, line: "I came residence again." The 3rd verse an ext or much less repeats the first, however the pace has picked up and also by currently we realize that this is a person with actual troubles. The 4th provides a little bit of relief native the intensifying pace with more key changes and a rush of words that nearly seem to it is in tossing roughly a equipment to the entirety mess: acquiring away and getting on v his/her life. Yet this is a hollow suggestion, and the protagonist to know it, the result being a final verse which simply recapitulates the slow statement that the problem, and a last buildup come a cry for help. yet the end is not the end. ~ the to sing stops, there is a amazing five-beat critical coda i beg your pardon concludes the song. Interestingly, it has actually no noticeable relation to the remainder of the piece, yet admirably completes that mission by perfectly discharging its remaining rhythmic and also emotional momentum. Beyond that, however, that does therefore in a method closely mimicking the sort of pounding heartbeat and also excited, heaving, breathing that such a revelation of feel would develop in a "real world" setting. Yes, really brilliant! The performance of this maker may have been evaluate by later on musicians--note the structure similarity of the last five-beat point in The Who"s "Won"t get Fooled Again" (which strips the impact "down," eliminating the physiological aspect in favor of, appropriately, a strictly dramatic one). This is an extremely heady stuff, particularly for 1965. I can"t help but wonder how We Five concerned this certain interpretation the the song, together there is naught in the rest of their oeuvre i beg your pardon in any way approaches it. The Crispian St. Peters version is a bit darker and also sung nicely, yet the the atmosphere is torpedoed through the important arrangement, which functions a saxophone at just the dorn time.


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Ns have also often wondered how We 5 performed the song live--at least, once they were not committed to some context that referred to as for television cameras and having come fit in with a horde the silly, jiggling, Hullabaloo-style dancers. A couple of duration performances the the latter variety have been put up virtual on Youtube.com; sigh, posterity have the right to sometimes it is in so cruel!

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