In a few cases-Stephen Sondheim is the obvious example-this has meant excluding the interesting later work of contemporary writers, but only in a few cases. By 1975, though, it really was over,Įxcept for some isolated instances. We were charmed by other clever and natural-seeming lyrics from this early decade.Īgain, the date 1970, somewhat arbitrarily chosen, excluded a number of Broadway musicals-Follies, Chicago, etc.,-that were still in the tradition of the golden age, producing songs that have lasted. And so our beginning date got pushed back to 1900-at which point Made the effective break from the operetta conventions of, say, Victor Herbert, and the overwhelmingly sentimental nature of earlier American song. Cohan, so active in the first decade of the century, who But eventually it became clear to us that it was George M.
Of twentieth-century popular song-that it marked a real break from everything that preceded it. In the abstract, it seemed that "Alexander's Ragtime Band," from 1911, would be an appropriate introduction to the mainstream For instance, this book was originally going to span the years 1910 to 1970. As with all anthologies, the actual process of accumulating and assessing material has changed the original idea of the anthology It has been a daunting challenge to choose a thousand or so of the "best" American and English lyrics of their time. he couldn't possibly know that, and the narrator is facing conflict in his spirituality that is dealt with more thoroughly (and discarded) in other Lips songs, such as "Vein of Stars".Edited and with an introduction by ROBERT GOTTLIEB and ROBERT KIMBALL
#Vein of stars lyrics driver#
But he crosses the line into asking more than just the human kind ear and speedy arrival when he asks the ambulance driver to "Tell me for everyone that dies
He's just admitting things "i'm not a real survivor, because i'm wishing that i was the one that wasn't gonna be here anymore". At first he's not so much asking for anything from the ambulance driver, other than the implied "please get here soon". In his grief, he begins praying to the ambulance driver, who now has control over something he values more than his life. Hes not praying, but wishing that he could switch places with her, willing to give his life to save hers, but realizes he must face the reality that he can do nothing. The narrator of the song is with the girl that he loves hurt and dying in his arms, he's not even close to accepting it, but rather bargaining. In this song, like on 'Waiting for a Superman' wayne uses a figure of authority who is unable to take the responsibility of being a god as his surrogate god for this situation.
One of the deepest things about this song for me is one of the same things i think was heavily prevalent on The Soft Bulletin, which is that the flaming lips seem to have an inability to believe in god, but love to write about the situations where people want a god the most, such as when a loved one dies. The lips admit to experimenting with all kinds of drugs in their earlier days and Steve Drozd (former drummer, current guitar player) was addicted to heroin. General CommentTotally agree with spinning sun, but have to disagree with Annie Rose. 'Cause I'm wishing that I was the one thatįor everyone that dies, someone new is born Mister Ambulance Driver I'm not a real survivor Mister Ambulance Driver I'm right here beside her
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