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I Can't Stand the Rain (song)
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"I Can't Stand the Rain"
Single by Ann Peebles
from the album I Can't Stand the Rain
Released
1973
Format
7" single
Recorded
1973
Genre
Soul, Memphis soul
Length
2:31
Label
Hi Records
Songwriter(s)
Ann Peebles, Don Bryant & Bernard "Bernie" Miller
Producer(s)
Willie Mitchell
Ann Peebles singles chronology
"I'm Gonna Tear Your Playhouse Down"
(1973) "I Can't Stand the Rain"
(1973) "(You Keep Me) Hanging On"
(1974)
"I'm Gonna Tear Your Playhouse Down"
(1973) "I Can't Stand the Rain"
(1973) "(You Keep Me) Hanging On"
(1974)
"I Can't Stand the Rain"
Single by Eruption
from the album Eruption
B-side
"Be Yourself"
Released
January 23, 1978
Format
7" single
Recorded
1977
Genre
Disco
Length
3:12
Label
Hansa Records
Songwriter(s)
Ann Peebles, Don Bryant & Bernard "Bernie" Miller
Producer(s)
Frank Farian, Rainer M. Ehrhardt
Eruption singles chronology
"I Can't Stand the Rain"
(1978) "Leave a Light"
(1978)
"I Can't Stand the Rain"
(1978) "Leave a Light"
(1978)
"I Can't Stand the Rain" is a song originally recorded by Ann Peebles in 1973, and written by Peebles, Don Bryant, and Bernard "Bernie" Miller. Other hit versions were later recorded by Eruption and Tina Turner.
Contents
[hide]
1 Ann Peebles version
2 Eruption version
2.1 Track listings
2.2 Charts
3 Tina Turner version
3.1 Track listings
3.2 Chart performance
3.2.1 Weekly charts
3.2.2 Year-end charts
4 Other versions
5 References
6 External links
Ann Peebles version[edit]
The song was written by Peebles, her partner (and later husband) Don Bryant, and DJ Bernard "Bernie" Miller in 1973:
One evening in Memphis in 1973, soul singer Ann Peebles was meeting friends, including her partner, Hi Records staff writer Don Bryant, to go to a concert. Just as they were about to set off, the heavens opened and Peebles snapped: "I can't stand the rain." As a professional songwriter in constant need of new material, Bryant was used to plucking resonant phrases out of the air and he liked the idea of reacting against recent R&B hits that celebrated bad weather, such as the Dramatics' "In the Rain" and Love Unlimited's "Walkin' in the Rain with the One I Love". So he sat down at the piano and started riffing on the theme, weaving in ideas from Peebles and local DJ Bernie Miller. The song was finished that night and presented the next morning to Hi's studio maestro, Willie Mitchell, who used a brand new gadget, the electric timbale, to create the song's distinctive raindrop riff. It really was that easy. "We didn't go to the concert," Bryant remembers. "We forgot about the concert."[1]
Ann Peebles said: "At first, we had the timbales all the way through the song but as we played the tape, Willie Mitchell said 'what about if the timbales were in front before anything else comes in?'. So we did that and when we listened back I said 'I love it, let's do that'."[2]
Produced by Willie Mitchell, the song became Peebles' biggest hit when, in 1973, it reached #38 on the US Pop Chart and #6 on the R&B/Black Chart; it also reached #41 on the UK singles chart in April 1974. The organ is played by Charles Hodges.[3] It was one of John Lennon's favorite songs and in a Billboard magazine article he commented, "It's the best song ever." Ian Dury made this song one of his choices when he was the guest for BBC Radio 4's Desert Island Discs in December 1996.[4]
Eruption version[edit]
In 1978 Eruption released a disco-oriented remake, which peaked at number six on the disco chart[5] and became the group's biggest hit (number 18 on the Billboard Hot 100).
Track listings[edit]
7" single
"I Can't Stand the Rain" – 3:12
"Be Yourself" – 3:43
Charts[edit]
Chart (1978)
Peak
position
U.S. Billboard Hot 100 18
U.S. Billboard Hot R&B/Hip-Hop Songs 30
U.S. Billboard Hot Dance Club Play 6
Canadian Singles Chart 21
UK Singles Chart 5
Irish Singles Chart 6
German Singles Chart 7
Austrian Singles Chart 4
Swiss Singles Chart 8[6]
Dutch Top 40 4
Belgian Singles Chart 1
French Singles Chart 5
Italian Singles Chart 3
Norwegian Singles Chart 2
Swedish Singles Chart 22
Finish Singles Chart 15
New Zealand Singles Chart 4
Australian Singles Chart 1
South African Singles Chart 5
Tina Turner version[edit]
"I Can't Stand the Rain"
Single by Tina Turner
from the album Private Dancer
B-side
"Let's Pretend We're Married" (live)
Released
March 1, 1985
Format
7" single
12" single
Recorded
1984
Genre
Pop rock
new wave
Length
3:41
Label
Capitol
Songwriter(s)
Ann Peebles, Don Bryant & Bernard "Bernie" Miller
Producer(s)
Terry Britten
Tina Turner singles chronology
"Private Dancer"
(1985) "I Can't Stand the Rain"
(1985) "Show Some Respect"
(1985)
"Private Dancer"
(1985) "I Can't Stand the Rain"
(1985) "Show Some Respect"
(1985)
In 1984 Tina Turner recorded "I Can't Stand the Rain" for her fifth solo album, Private Dancer, and released it as a single in early 1985 in Europe. Turner's version would find minor success in the UK, but would be a success in Germany, Austria and Switzerland.
Track listings[edit]
7" single
"I Can't Stand the Rain" – 3:40
"Let's Pretend We're Married" (live version) – 4:22
12" single
"I Can't Stand the Rain" (extended version) – 5:43
"Let's Pretend We're Married" (live version) – 4:22
"Nutbush City Limits" (live version) – 2:56
Chart performance[edit]
Weekly charts[edit]
Chart (1985)
Peak
position
Austria (Ö3 Austria Top 40)[7]
6
Germany (Official German Charts)[8]
9
Ireland (IRMA)[9]
20
Switzerland (Schweizer Hitparade)[10]
15
UK Singles (Official Charts Company)[11]
57
Year-end charts[edit]
Chart (1985)
Peak
position
Austria (Ö3 Austria Top 40)[12]
30
Other versions[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2016) (Learn how and when to remove this template message)
Humble Pie recorded the song on their 1974 album Thunderbox.
Ronnie Wood covered the song in 1975 on his album Now Look.
The song was covered by Patrice Banks of Graham Central Station on the 1975 release of Ain't No 'Bout A Doubt It album
Mark Williams covered the song on his 1976 album, Sweet Trials.
Albert King covered the song in 1977 on his album The Blues Don't Change.
Graham Central Station covered the song on their 1975 album Ain't No 'Bout-A-Doubt It.
Lowell George covered the song on his 1979 album Thanks, I'll Eat it Here.
Hortense Ellis covered the song on her 1979 album Irie Reggae Hits
The song was included in the 1991 feature film, The Commitments, and its subsequent soundtrack.
The song was covered by Bad Manners on their 1993 album Fat Sound.
In 1996, Australians Diesel and Chris Wilson covered the song as the lead single from their album Short Cool Ones.
Cassandra Wilson's 1993 album Blue Light 'til Dawn contained a version of the track which received mixed reviews. John Milward of Rolling Stone called it "skeletal" and not as strong as the original.[13] In contrast, Ron Wynn of AllMusic liked Wilson's version, saying that it holds up to comparisons of Peebles' version.[14]
Robben Ford covered the song on his 1996 albumTiger Walk.
Missy Elliott's 1997 debut single, "The Rain (Supa Dupa Fly)", contains a sample from Ann Peebles' original recording of the song in its chorus.
Michael Bolton covered the song on his 1999 album Timeless: The Classics Vol. 2.
Alannah Myles covered the song, with Jeff Healey on guitar, for a 2004 Tina Turner tribute compilation. Myles released a new version of the song on her 2014 album "85 BPM" and issued it as a single.
Terry Manning added a live version of the song to the 2006 CD re-release of his album Home Sweet Home.
In 2006 R&B singer, Miki Howard recorded a cover version which appears on her album Pillow Talk.
A version of the song appears on Sam Moore's 2006 album, Overnight Sensational with Wynonna, Bekka Bramlett, BeBe Winans and Billy Preston.
Dale Ann Bradley recorded a Bluegrass version of the song on her 2006 album Catch Tomorrow.
In August 2007, Guy Sebastian recorded a tribute version of "I Can't Stand the Rain" at Ardent Studios in Memphis, Tennessee for his album of soul classics, The Memphis Album, with many of the original Stax music band members, including Steve Cropper, Donald Duck Dunn, Lester Snell, Steve Potts.
Seal recorded a version of the song for his 2008 album Soul.
Willie Clayton recorded it on his 2008 album Soul and Blues.[15]
In 2010, German classical bass-baritone Thomas Quasthoff recorded a version for his crossover album Tell It Like It Is.
In 2012, The Flashbulb remixed this song to "The History Of Rain" on the album Opus at the End of Everything.
Classic rock singer Paul Rodgers included his version of the song on his 2014 cover album of soul classics The Royal Sessions.
"I Can't Stand the Rain" has been utilized as a sample by the hip hop duo Reflection Eternal (a collaborative group comprising conscious hip hop artist Talib Kweli, and producer Hi-Tek) for their song "Memories Live" on their debut album Train Of Thought.
British singer Beverley Knight covered the song on her 2016 album "Soulsville".
References[edit]
Jump up ^ Dorian Lynskey, "Ann Peebles: the girl with the big voice", The Guardian, 20 February 2014. Retrieved 30 June 2014
Jump up ^ Miss FunkyFlyy, "Ann Peebles". Retrieved 30 June 2014
Jump up ^ "I Can't Stand the Rain by Ann Peebles". Rateyourmusic.com. 27 June 2010. Retrieved 3 December 2014.
Jump up ^ "BBC Radio 4 - Desert Island Discs, Ian Dury". BBC. 15 December 1996. Retrieved 3 December 2014.
Jump up ^ Whitburn, Joel (2004). Hot Dance/Disco: 1974-2003. Record Research. p. 91.
Jump up ^ Steffen Hung. "Eruption feat. Precious Wilson - I Can't Stand The Rain". hitparade.ch. Retrieved 2013-03-26.
Jump up ^ "Austriancharts.at – Tina Turner – I Can't Stand the Rain" (in German). Ö3 Austria Top 40. Retrieved September 18, 2015.
Jump up ^ "Tina Turner - Top Titel" (in German). GfK Entertainment. Retrieved September 18, 2015.
Jump up ^ "The Irish Charts – Search Results – I Cant Stand the Rain". Irish Singles Chart. Retrieved September 18, 2015.
Jump up ^ "Swisscharts.com – Tina Turner – I Can't Stand the Rain". Swiss Singles Chart. Retrieved September 18, 2015.
Jump up ^ "Tina Turner: Artist Chart History". Official Charts Company. Retrieved September 18, 2015.
Jump up ^ "Jahreshitparade Singles 1985" (in German). Hung Medien. Retrieved September 18, 2015.
Jump up ^ Milward, John (1997-08-01), "Cassandra Wilson: Blue Light 'Til Dawn", Rolling Stone, retrieved 2010-01-03
Jump up ^ Wynn, Ron. "Blue Light 'Til Dawn > Review". AllMusic. Retrieved 2010-01-03.
Jump up ^ Leggett, Steve (2008-11-04). "Soul and Blues - Willie Clayton : Songs, Reviews, Credits, Awards". AllMusic. Retrieved 2012-08-08.
External links[edit]
Lyrics of this song at MetroLyrics
[show]
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Diesel
Studio albums
Johnny Diesel and The Injectors
Hepfidelity
The Lobbyist
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"Dig"
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"Crazytown"
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Related articles
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ARIA Award for Best Male Artist
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[show]
v
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Tina Turner singles
Acid Queen
"Baby Get It On"
"Whole Lotta Love"
"Acid Queen"
Rough
"Viva La Money"
"Root, Toot Undisputable Rock 'n Roller"
"Sometimes When We Touch"
"Night Time Is the Right Time"
Love Explosion
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"Back Stabbers"
"Music Keeps Me Dancin'"
Private Dancer
"Let's Stay Together"
"Help!"
"What's Love Got to Do With It"
"Better Be Good to Me"
"Private Dancer"
"I Can't Stand the Rain"
"Show Some Respect"
Mad Max Beyond Thunderdome
"We Don't Need Another Hero (Thunderdome)"
"One of the Living"
Break Every Rule
"Typical Male"
"Back Where You Started"
"Two People"
"Girls"
"What You Get Is What You See"
"Break Every Rule"
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Tina Live in Europe
"Nutbush City Limits"
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"The Best"
"I Don't Wanna Lose You"
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"Be Tender with Me Baby"
Simply the Best
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"Way of the World"
"Love Thing"
"I Want You Near Me"
"(Simply) The Best"
What's Love Got to Do with It
"I Don't Wanna Fight"
"Disco Inferno"
"Why Must We Wait Until Tonight"
"Proud Mary"
Wildest Dreams
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"On Silent Wings"
"Missing You"
"Something Beautiful Remains"
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Twenty Four Seven
"When the Heartache Is Over"
"Whatever You Need"
"Don't Leave Me This Way"
All the Best
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"Complicated Disaster"
Guest singles
"Ball of Confusion"
"Tonight"
"It's Only Love"
"Tearing Us Apart"
"It Takes Two"
"Cose della vita - Can't Stop Thinking of You"
"Teach Me Again"
Book:Tina Turner
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text:
Bundle of rights
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Property law
Part of the common law series
Types
Real property
Personal property
Acquisition
Gift
Adverse possession
Deed

Conquest
Discovery
Accession
Lost, mislaid, and abandoned property
Treasure trove
Bailment
License
Alienation
Estates in land
Allodial title
Fee simple
Fee tail

Life estate
Defeasible estate
Future interest
remainder
Concurrent estate
Leasehold estate
Condominiums
Real estate
Conveyancing
Bona fide purchaser
Torrens title

Strata title
Estoppel by deed
Quitclaim deed
Mortgage
Equitable conversion
Action to quiet title
Escheat
Future use control
Restraint on alienation
Rule against perpetuities
Rule in Shelley's Case
Doctrine of worthier title
Nonpossessory interest
Easement
Profit
Usufruct
Covenant
Equitable servitude
Related topics
Fixtures
Waste
Partition
Practicing without a license

Property rights
Mineral rights
Water rights
prior appropriation
riparian
Lateral and subjacent support
Assignment
Nemo dat
Quicquid plantatur
Conflict of property laws
Blackacre
Security deposit
Other common law areas
Contract law
Tort law
Wills, trusts and estates
Criminal law
Evidence
v
t
e
The bundle of rights is a metaphor to explain the complexities of property ownership.[1] Law school professors of introductory property law courses frequently use this conceptualization to describe "full" property ownership as a partition of various entitlements of different stakeholders.[2]
The bundle of rights is commonly taught in US first-year law school property classes to explain how a property can simultaneously be "owned" by multiple parties. The term, "bundle of rights," likely came into use during the late 19th century and continued to gain ground thereafter. Prior to that, the idea of property entailed more the owner's dominion over a thing, placing restrictions on others from "messing" with the owner's property. "Bundle of rights," however, implies rules specifying, proscribing, or authorizing actions on the part of the owner.[3]
Ownership of land is a much more complex proposition than simply acquiring all the rights to it. It is useful to imagine a bundle of rights that can be separated and reassembled. A "bundle of sticks" - in which each stick represents an individual right – is a common analogy made for the bundle of rights. Any property owner possesses a set of "sticks" related directly to the land.[4]
For example, perfection of a mechanic's lien takes some, but not all, rights out of the bundle held by the owner. Extinguishing that lien returns those rights or "sticks" to the bundle held by the owner. In the United States (and under common law) the fullest possible title to real estate is called "fee simple absolute." Even the US federal government's ownership of land is restricted in some ways by state property law.
Contents
[hide]
1 Variations on the concept
2 Applications
2.1 Examples of Component Rights
3 See also
4 References
Variations on the concept[edit]
Variations on the division between public and private property use can be found throughout the world. While the bundle of rights concept is strongly rooted in common law, there are comparable ideas in civil law systems and religious law systems. National, sub-national, and municipal laws strongly influence what title owners can do with their property in terms of physical development. Quasi-governmental bodies (such as utility companies) are also permitted to create easements across private property.
Historically the degrees of individual and community control over real property have varied greatly. The differences between capitalism, despotism, socialism, feudalism, and traditional societies often define different standards for land ownership. The bundle of rights concept looks much different when examined by different types of societies. For instance, a laissez-faire government would allow a much different bundle of rights than a communist government.
Bundle of Rights- Simply put are rights inherent with the property. The right to use, the right to sell, right to mortgage, right to lease, right to give away, and right to enter. Or the right to refuse to exercise any of these rights. This is subject to certain limitations.
Applications[edit]
Community land trusts and land banking are examples of efforts to rearrange the bundle of rights. This is typically done by dividing the responsibilities of ownership and management from the rights to use the property. A typical community land trust strategy is to hold ownership over the land and sell the structural improvements (residential or other buildings) to low-income homebuyers. This allows people to buy a home at a price far below the market rate and to realize the benefits of their property value improving.
Real Estate Investment Trusts divide up the bundle of rights in order to allow commercial investments in real property. These legal structures are becoming more common throughout the developed world.
Squatting presents a non-economic way for people to transfer parts of the bundle of rights. Depending on the applicable laws, a squatter can acquire property rights by simply occupying vacant land for an extended period of time. Areas with high concentrations of squatters are sometimes thought of as informal settlements. Squatters face great instability due to their lack of title and governmental efforts at "blight removal".
"Squatting" can result in "adverse possession", that in common law, is the process by which title to another's real property is acquired without compensation, by holding the property in a manner that conflicts with the true owner's rights for a specified period of time. Circumstances of the adverse possession determine the type of title acquired by the adverse possessor, which may be fee simple title, mineral rights, or another interest in real property.
Examples of Component Rights[edit]
This table breaks down some of the various rights involved in real property ownership. Several of these rights can be transferred between different parties through sale or trade. Third parties can obtain the rights to access and profit from several of the public use rights without the consent of the title owner. This is often the case with resource extraction companies such as mines.
Title Owner
Public Use
Government
Third Party
Possession (right to use and occupy)
Legal title
Mortgage
Lease
Sell
Subdivide the property
Create a covenant running with the land
Railroad
Public works
Electric power transmission lines
Air rights
Riparian water rights
Mineral rights
Grazing rights
Collect Property tax
Enforce a Lien
Protect Endangered species
Protect Wetlands
Zoning
Planning Permission/Development Rights (United Kingdom)
Eminent domain
Prohibit noxious or nuisance uses
Possession – right to use and occupy as tenant
Freedom to roam
Homeowners association
Historic preservation
Conservation easement
Adverse possession
For example, a husband and wife can be owners (technically, title owners) of real property that is also encumbered by a mortgage and a mechanics lien. Their neighbor may have an easement for a utility line, and a license for entry and exit to a nearby plot of land. Airplanes have the right to fly through their airspace. Constitutionally, the state and federal governments always hold the right to condemnation, also called eminent domain, and the government at multiple levels retains various regulatory rights such as environmental regulation, zoning, and building code enforcement.
See also[edit]
List of real estate topics
Property rights (economics)
Real estate
References[edit]
Jump up ^ http://scholarship.law.uc.edu/cgi/viewcontent.cgi?article=1164&context=uclr
Jump up ^ http://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=4601&context=fss_papers
Jump up ^ Klein, Daniel B. and John Robinson. "Property: A Bundle of Rights? Prologue to the Property Symposium," Econ Journal Watch 8(3): 193-204, Sept 2011.[1]
Jump up ^ E.g., United States v. Craft, 535 U.S. 274, 278, 152 L.Ed. 2d 437, 446, 122 S.Ct. 1414, 1420 (2002) (describing the "bundle of sticks" as a "collection of individual rights which, in certain combinations, constitute property").
Daniel R. Mandelker (2003). Land use law. [Charlottesville, Va.]: LexisNexis Matthew Bender. ISBN 0-327-16269-4.
Introduction to Property Rights: A Historical Perspective
Benedikt Koehler, Muhammad's conception of property as a bundle of rights, Economic Affairs, vol. 35, number 1, Feb 2015
Introduction to Property Rights: A Historical Perspective
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She dwelt among the untrodden ways
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1837 manuscript of "She dwelt among the untrodden ways"
"She Dwelt Among the Untrodden Ways" is a three-stanza poem written by the English Romantic poet William Wordsworth in 1798 when he was 28 years old. The verse was first printed in Lyrical Ballads, 1800, a volume of Wordsworth's and Samuel Taylor Coleridge's poems that marked a climacteric in the English Romantic movement. The poem is the best known of Wordsworth's series of five works which comprise his "Lucy" series, and was a favorite amongst early readers.[1] It was composed both as a meditation on his own feelings of loneliness and loss, and as an ode to the beauty and dignity of an idealized woman who lived unnoticed by all others except by the poet himself. The title line implies Lucy lived unknown and remote, both physically and intellectually. The poet's subject's isolated sensitivity expresses a characteristic aspect of Romantic expectations of the human, and especially of the poet's, condition.
According to the literary critic Kenneth Ober, the poem describes the "growth, perfection, and death" of Lucy.[2] Whether Wordsworth has declared his love for her is left ambivalent, and even whether she had been aware of the poet's affection is unsaid. However the poet's feelings remain unrequited, and his final verse reveals that the subject of his affections has died alone. Lucy's "untrodden ways" are symbolic to the poet of both her physical isolation and the unknown details of her mind and life. In the poem, Wordsworth is concerned not so much with his observation of Lucy, but with his experience when reflecting on her death.[3]
Contents
[hide]
1 Structure and style
2 Lucy
3 Place among the 'Lucy' series
4 Parodies
5 Notes
6 Bibliography
7 External links
Structure and style[edit]
William Wordsworth, author of "She Dwelt among the Untrodden Ways"
"She dwelt among the untrodden ways" consists of three quatrains, and describes Lucy who lives in solitude near the source of the River Dove.[4] In order to convey the dignity and unaffected flowerlike naturalness of his subject, Wordsworth uses simple language, mainly words of one syllable. In the opening quatrain, he describes the isolated and untouched area where Lucy lived, while her innocence is explored in the second, during which her beauty is compared to that of a hidden flower. The final stanza laments Lucy's early and lonesome death, which only he notices.
Throughout the poem, sadness and ecstasy are intertwined, emphasised by the exclamation marks in the second and third verses. The effectiveness of the concluding line in the concluding stanza has divided critics and has variously been described as "a masterstroke of understatement" and overtly sentimental. Wordsworth's voice remains largely muted, and he was equally silent about the poem and series throughout his life.[1] This fact was often mentioned by 19th century critics, however they disagreed as to its value. A critic, writing in 1851, remarked on the poem's "deep but subdued and silent devour."[5]
This is written with an economy and spareness intended to capture the simplicity the poet sees in Lucy. Lucy's femininity is described in the verse in girlish terms, a fact that has drawn criticism from some critics that see a female icon, in the words of John Woolford "represented in Lucy by condemning her to death while denying her the actual or symbolic fulfillment of maternity".[6] To evoke the "loveliness of body and spirit", a pair of complementary but opposite images are employed in the second stanza: a solitary violet, unseen and hidden, and Venus, emblem of love, and the first star of evening, public and visible to all.[2] Wondering which Lucy most resembled—the violet or the star—the critic Cleanth Brooks concluded that although Wordsworth likely viewed her as "the single star, completely dominating [his] world, not arrogantly like the sun, but sweetly and modestly". Brooks considered the metaphor only vaguely relevant, and a conventional and anomalous complement.[7] For Wordsworth, Lucy's appeal is closer to the violet and lies in her seclusion, and her perceived affinity with nature.[6]
Wordsworth purchased a copy of Thomas Percy's collection of British ballad material "Reliques of Ancient English Poetry" in Hamburg a few months before he began to compose the Lucy series. The influence of traditional English folk ballad is evident in the meter, rhythm, and structure of the poem. She Dwelt among the Untrodden Ways follows the variant ballad stanza a4—b3—a4 b3,[2] and in keeping with ballad tradition seeks to tell its story in a dramatic manner.[8] As the critic Kenneth Ober observed, "To confuse the mode of the 'Lucy' poems with that of the love lyric is to overlook their structure, in which, as in the traditional ballad, a story is told as boldly and briefly as possible."[2] Ober compares the opening lines of She Dwelt among the Untrodden Ways to the traditional ballad Katharine Jaffray and notes the similarities in rhythm and structure, as well as in theme and imagery:
There livd a lass in yonder dale,
And doun in yonder glen, O.
And Katherine Jaffray was her name,
Well known by many men, O.[2]
According to the critic Carl Woodring, "She Dwelt" can also be read as an elegy. He views the poem and the Lucy series in general as elegiac "in the sense of sober meditation on death or a subject related to death", and that they have "the economy and the general air of epitaphs in the Greek Anthology ... if all elegies are mitigations of death, the Lucy poems are also meditations on simple beauty, by distance made more sweet and by death preserved in distance".[9]
One passage was originally intended for the poem "Michael"–"Renew'd their search begun where from Dove Crag / Ill home for bird so gentle / they look'd down / On Deep-dale Head, and Brothers-water".[10]
Lucy[edit]
Wordsworth wrote his series of "Lucy" poems during a stay with his sister Dorothy in Hamburg, Germany, between October 1798 and April 1801.[11] The real life identity of Lucy has never been identified, and it is probable that she was not modeled on any one historical person.[12] Wordsworth himself never addressed the matter of her persona,[11] and was reticent about commenting on the series.[1] Although a great detail is known of the circumstances and details of Wordsworth's life, from the time he spend during of his stay in Germany comparatively little record survives. Only one known mention from the poet that references the series survives, and that mentions the series only, and not any of the individual verses.[13]
The literary historian Kenneth Johnson concluded that Lucy was created as the personification of Wordsworth's muse,
and the group as a whole is a series of invocations to a Muse feared dead. As epitaphs, they are not sad, a very inadequate word to describe them, but breathlessly, almost aware of what such a loss would mean to the speaker: 'oh, the difference to me!'[14]
Writing in the mid-19th century, Thomas De Quincey said that Wordsworth,
always preserved a mysterious silence on the subject of that 'Lucy', repeatedly alluded to or apostrophised in his poems, and I have heard, from gossiping people about Hawkshead, some snatches of tragic story, which, after all, might be an idle semi-fable, improved out of slight materials.[15]
Pencil drawing of William's sister Dorothy Wordsworth in later life.
Lucy's identity has been the subject of much speculation,[16] and some have guessed that the poems are an attempt by Wordsworth to voice his affection for Dorothy;[17] this line of thought reasoning that the poems dramatise Wordsworth's feelings of grief for her inevitable death. Soon after the series was completed, Coleridge wrote, "Some months ago Wordsworth transmitted to me a most sublime Epitaph / whether it had any reality, I cannot say. - Most probably, in some gloomier moment he had fancied the moment in which his Sister might die."[18]
Reflecting on the importance and relevance of Lucy's identity, the 19th-century literary critic Frederic Myers said, "Here it was that the memory of some emotion prompted the lines on Lucy. Of the history of that emotion, he has told us nothing; I forbear, therefore, to inquire concerning it, or even to speculate. That it was to the poet's honour, I do not doubt; but who ever learned such secrets rightly? Or who should wish to learn? It is best to leave the sanctuary of all hearts inviolate, and to respect the reserve not only of the living but of the dead. Of these poems, almost alone, Wordsworth in his autobiographical notes has said nothing whatever."[19] According to Karl Kroeber,
Wordsworth's Lucy possesses a double existence, her actual, historical existence and her idealised existence in the poet's mind. The latter is created out of the former but neither an abstraction nor a conceptualisation, because the idealised Lucy is at least as "concrete" as the actual Lucy. In the poem, Lucy is both actual and idealised, but her actuality is relevant only insofar as it makes manifest the signifiance implicit in the actual girl.[20]
Lucy is thought by others to represent his childhood friend Peggy Hutchinson, with whom he was in love before her early death in 1796—Wordsworth later married Peggy's sister, Mary.[21]
Place among the 'Lucy' series[edit]
Main article: The Lucy poems
Wordsworth established himself, according to the critic Norman Lacey, as a 'poet of nature' in his volume Lyrical Ballads in which "She Dwelt" first appeared.[22] Early works, such as Tintern Abbey, can be seen as an ode to his experience of nature (though he preferred to avoid this interpretation), or as a lyrical meditation on the fundamental character of the natural world. Wordsworth later recalled that as a youth nature once stirred in him, "an appetite, a feeling and a love", but by the time he wrote "Lyrical Ballads", it evoked "the still sad music of humanity".[23]
The five 'Lucy' poems are often interpreted as representing both his apposing views of nature and a meditation on natural cycle of life.[24] "Strange fits" presents "Kind Nature's gentlest boon", "Three years" its duality, and "A slumber", according to the American literary critic Cleanth Brooks, the clutter of natural object.[25] In Jones view, "She dwelt", along with "I travelled", represents its "rustication and disappearance".[24]
Parodies[edit]
"She dwelt.." has been parodied numerous times since it was first published. In part, parodies of earlier works were intended to remark on the simplification of textual complexities and deliberate ambiguities in poetry, and on the way many 19th-century critics sought to establish a 'definitive' reasonings. According to Jones, such parodies sought to comment in a "meta-critical" manner, and to present an alternative mode of criticism to the then mainstream mode.[26]
Among the more notable are those by Hartley Coleridge ("A Bard whom there were none to praise, / And very few to read") in 1834, and Samuel Butler's 1888 murder-mystery reading of the poem. Butler believed Wordsworth's use of the phrase "the difference to me!" was overtly terse, and remarked that the poet was "most careful not to explain the nature of the difference which the death of Lucy will occasion him to be ... The superficial reader takes it that he is very sorry she was dead ... but he has not said this."[1]
These parodies were intended to question definitive interpretation of the verse, and highlight its indeterminacies.[27]
Notes[edit]
^ Jump up to: a b c d Jones, 4.
^ Jump up to: a b c d e Ober, Kenneth; Ober, Warren. "Samuil Marshak's Translations Wordsworth's "Lucy" Poems". Germano-Slavica, January 2005.
Jump up ^ Slakey, 629.
Jump up ^ Wordsworth knew three rivers of that name; in Derbyshire, Yorkshire and Westmorland, but each could equally be the setting for the verse.
Jump up ^ "Poetry, Sacred and Profane". Nottinghamshire Guardian, October 30, 1853.
^ Jump up to: a b Woolford, John. "Robert Browning, Christina Rossetti and the Wordsworthian Scene of Writing". Wordsworth Circle 34.1, 2003.
Jump up ^ Brooks, Cleanth, 729-741.
Jump up ^ Durrant, Geoffrey. "William Wordsworth". Cambridge: Cambridge University Press, 1969. 61.
Jump up ^ Woodring, 44, 48.
Jump up ^ Hartman 1934, 134–42
^ Jump up to: a b Rolfe, i.
Jump up ^ Murray, 85.
Jump up ^ Jones, 6.
Jump up ^ Johnson, 463.
Jump up ^ Davies, Hugh Sykes. "Lake Reminiscences". 247.
Jump up ^ Abrams, M.H. The Norton Anthology of English Literature: Volume 2A, "The Romantic Period". (7th ed.). New York: W. W. Norton & Company, 2000.
Jump up ^ Coleridge was the first to raise the possibility that Lucy may represent Dorothy
Jump up ^ Johnson, 464.
Jump up ^ Myers, Frederic William Henry. "Wordsworth". Project Gutenberg. 33. Retrieved on 7 October 2007.
Jump up ^ Kroeber, 106-107.
Jump up ^ Cavendish, Richard. "Death of Dorothy Wordsworth: January 25th, 1855". History Today, January 2005. 55.
Jump up ^ Lacey, 1.
Jump up ^ Lacey, 3.
^ Jump up to: a b Jones, 190.
Jump up ^ Brooks, 736.
Jump up ^ Jones, 95
Jump up ^ Davies, Damien Walford. "Lucy's Trodden Ways". Oxford University Press, 1995.
Bibliography[edit]
Brooks, Cleanth. Irony as a Principle of Structure. In Zabel, Morton D. (ed): Literary Opinion in America. New York: Harper, 2nd edition, 1951.
Kroeber, Karl. The Artifice of Reality: Poetic Style in Wordsworth, Foscolo, Keats, and Leopardi. Madidon: University of Wisconsin, 1964.
Johnston, Kenneth. The Hidden Wordsworth: Poet, Lover, Rebel, Spy. W. W. Norton & Company, 1998. ISBN 0-393-04623-0
Jones, Mark. The 'Lucy Poems': A Case Study in Literary Knowledge. Toronto:The University of Toronto Press, 1995. ISBN 0-8020-0434-2
Lacey, Norman. Wordsworths View Of Nature. Cambridge: University Press. 1948.
Murray, Roger N. Wordsworth's Style: Figures and Themes in the Lyrical Ballads of 1800. Lincoln: University of Nebraska Press, 1967.
Rolfe, William J. William Wordsworth, Select Poems of William Wordsworth. New York: American Book, 1889.
Slakey, Roger L. "At Zero: A Reading of Wordsworth's 'She Dwelt among the Untrodden Ways'". Studies in English Literature, 1500-1900. Volume 12, issue 4, Autumn, 1972. 629–638.
Woodring, Carl. Wordsworth. Boston: Houghton Mifflin, 1965.
External links[edit]
Works related to She dwelt among the untrodden ways at Wikisource
Biography and Works of William Wordsworth
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William Wordsworth
Topics
Early life
Lake Poets
Lyrical Ballads
Preface to the Lyrical Ballads
"Anecdote for Fathers"
"The Idiot Boy"
"Lucy Gray"
The Lucy poems
"She dwelt among the untrodden ways"
"A slumber did my spirit seal"
"Strange fits of passion have I known"
"Three years she grew in sun and shower"
The Matthew poems
"Michael, a Pastoral"
"Lines written a few miles above Tintern Abbey"
"We Are Seven"
Later poetry
Poems, in Two Volumes
Peter Bell
The White Doe of Rylstone
"Composed upon Westminster Bridge"
"Elegiac Stanzas"
"I Wandered Lonely as a Cloud"
The Lucy poems
"I travelled among unknown men"
"London, 1802"
"Ode: Intimations of Immortality"
"Resolution and Independence"
"The Solitary Reaper"
"The World Is Too Much with Us"
"Character of the Happy Warrior"
The Recluse
The Excursion
The Prelude
Prose
Guide to the Lakes
People
Samuel Taylor Coleridge
Robert Southey
Dora Wordsworth (daughter)
Dorothy Wordsworth (sister)
Places
Alfoxton House
Allan Bank
Dove Cottage
Rydal Mount
Wordsworth House
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Should I Stay or Should I Go
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Should I Stay or Should I Go"
Single by The Clash
from the album Combat Rock
B-side
"Inoculated City" (1982)
"Rush" (1991)
Released
10 June 1982
Format
7" single
cassette
Recorded
1981[1]
Genre
Punk rock[2]
arena rock[3]
Length
3:06
Label
Epic 14-03006
Songwriter(s)
Topper Headon
Mick Jones
Paul Simonon
Joe Strummer
Producer(s)
The Clash
The Clash singles chronology
"Know Your Rights"
(1982) "Should I Stay or Should I Go"
(1982) "Rock the Casbah"
(1982)
"Know Your Rights"
(1982) "Should I Stay or Should I Go"
(1982) "Rock the Casbah"
(1982)
The Clash reissued singles chronology
"Return to Brixton"
(1991) Return to Brixton1991 "Should I Stay or Should I Go" (rerelease)
(1991) String Module Error: Match not found1991 "Rock the Casbah" (rerelease)
(1991) String Module Error: Match not found1991
Music video
"Should I Stay or Should I Go" on YouTube
"Should I Stay or Should I Go" is a song by the English punk rock band the Clash, from their album Combat Rock. It was written in 1981 and featured Mick Jones on lead vocals. It became the band's only number-one single on the UK Singles Chart, a decade after it was originally released.[4] In November 2004, it was ranked at 228 on "Rolling Stone's 500 Greatest Songs of All Time" list.[5] In 2009 it was ranked 42nd on VH1's program 100 Greatest Hard Rock Songs.[6]
Many rumours have arisen about the song's content, such as Jones' impending dismissal from the Clash or the tempestuous personal relationship between Jones and American singer Ellen Foley.[7] Should I Stay Or Should I Go' was thought to be written by Jones about Foley, who sang the backing vocals on Meatloaf's Bat Out of Hell LP.[7] However, Jones himself said:
It wasn't about anybody specific and it wasn't pre-empting my leaving The Clash. It was just a good rockin' song, our attempt at writing a classic ... When we were just playing, that was the kind of thing we used to like to play. – Mick Jones, 1991[8]
The Spanish backing vocals were sung by Joe Strummer and Joe Ely:
On the spur of the moment I said 'I'm going to do the backing vocals in Spanish' ... We needed a translator so Eddie Garcia, the tape operator, called his mother in Brooklyn Heights and read her the lyrics over the phone and she translated them. But Eddie and his mum are Ecuadorian, so it's Ecuadorian Spanish that me and Joe Ely are singing on the backing vocals. – Joe Strummer, 1991[9]
Contents
[hide]
1 Releases
2 Personnel
2.1 "Should I Stay or Should I Go"
2.2 "Inoculated City"
3 Charts
3.1 Original release
3.2 Reissue
3.3 Year-end charts
3.4 Download
4 In popular culture
5 See also
6 References
Releases[edit]
The single was reissued several times. It was first reissued in 1982, with a different cover as a double A-side with "Straight to Hell" and with "Cool Confusion" as its B-side. It was reissued again in 1983, with "First Night Back in London" on side two, and then for a third time in 1991, with "Rush" by Mick Jones' group Big Audio Dynamite II as a double A-side, with a remix of "Rush" as its B-side (see the table below).[10]
Live recording of the song was released as a part of the album, Live at Shea Stadium, which featured a concert on 13 October 1982 in New York. The song's music video[11] from that performance was included in DVD The Clash Live: Revolution Rock. Both disks were released on 6 October 2008.[12]
Year
B-side
Format
Label
Country
Note
1982 CBS logo etched into vinyl 45 rpm 7" vinyl Epic ENR-03571 USA One Sided Single - Epic's Get the Hit - Special Low Price
1982 "Cool Confusion" 45 rpm 12" vinyl Epic 07 5P-223 JP —
1982 "Straight to Hell" (Edit) 45 rpm 12" vinyl CBS CBS A13 2646 UK —
1982 "Straight to Hell" (Edit) 45 rpm 7" vinyl CBS CBS AII 2646 UK Picture disc
1982 "Inoculated City" 45 rpm 7" vinyl Epic 14-03006 USA 10 June 1982
1982 "First Night Back in London" 45 rpm 7" vinyl Epic 34-03061 USA Released on 20 July 1982
1982 "Straight to Hell" 45 rpm 7" vinyl CBS CBS A 2646 UK Released on 17 September 1982
1983 "Cool Confusion" 45 rpm 7" vinyl Epic 34-03547 USA Released on 27 January 1983
1991
"Rush (Dance Mix)" (Big Audio Dynamite II)
"Protex Blue" (The Clash)
45 rpm 12" vinyl CBS / Sony UK A-side
"Should I Stay or Should I Go" (The Clash)
"Rush" (Big Audio Dynamite II)
Personnel[edit]
"Should I Stay or Should I Go"[edit]
Mick Jones – lead vocals, lead guitar
Joe Strummer – backing vocals, rhythm guitar
Paul Simonon – backing vocals, bass guitar
Topper Headon – drums
Joe Ely – backing vocals
"Inoculated City"[edit]
Mick Jones – vocals, lead guitars, sound effects
Joe Strummer – lead guitars
Paul Simonon – bass guitar
Topper Headon – drums
Charts[edit]
Original release[edit]
Chart (1982–83)
Peak
position
Australia (Kent Music Report)[13] 37
Canada Top Singles (RPM)[14] 40
Ireland (IRMA)[15] 16
UK Singles (Official Charts Company)[16] 17
US Billboard Hot 100[17] 45
US Billboard Top Tracks[17] 13
US Cash Box[18] 63
Reissue[edit]
Chart (1991–92)
Peak
position
Austria (Ö3 Austria Top 40)[19] 5
Belgium (Ultratop 50 Flanders)[20] 3
France (SNEP)[21] 25
Germany (Official German Charts)[22] 5
Ireland (IRMA)[15] 2
Netherlands (Dutch Top 40)[23] 6
Netherlands (Single Top 100)[24] 3
New Zealand (Recorded Music NZ)[25] 2
Norway (VG-lista)[26] 3
Sweden (Sverigetopplistan)[27] 6
Switzerland (Schweizer Hitparade)[28] 4
UK Singles (Official Charts Company)[29] 1
Year-end charts[edit]
Chart (1992)
Position
New Zealand (Recorded Music NZ)[30] 17
Download[edit]
Chart (2012)
Peak
position
France (SNEP)[21] 165
Chart (2013)
Peak
position
France (SNEP)[21] 152
In popular culture[edit]
The song was used in a Levi's jeans commercial in 1991 and was reissued as a single, which reached number one on the UK Singles Chart.[31][29]
The song's opening guitar riff was used in One Direction's 2012 hit single, "Live While We're Young", which caused controversy.[32]
"Should I Stay or Should I Go" features heavily in the first season of the Netflix sci-fi drama Stranger Things. The song has shown up multiple times in the series and is a significant part of the storyline.[33][34][35]
See also[edit]
Ronald Reagan in music
References[edit]
Jump up ^ "The Brexit Vote Is the Perfect Excuse to Revisit This Song by The Clash". Time. 23 June 2016. Retrieved 4 September 2017.
Jump up ^ Rowley, Scott (13 September 2017). "The Clash Albums Ranked From Worst To Best – The Ultimate Guide". Classic Rock. Retrieved 29 September 2017.
Jump up ^ Erlewine, Stephen Thomas. "The Clash – Combat Rock". AllMusic. Retrieved 29 September 2017.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. pp. 524–5. ISBN 1-904994-10-5.
Jump up ^ "The RS 500 Greatest Songs of All Time (1-500)". Archived from the original on 25 October 2006. . Rolling Stone. 29 December 2004.
Jump up ^ "100 Greatest Hard Rock Songs". Spreadit.org. 1 January 2009. Archived from the original on 12 February 2009. Retrieved 27 February 2009.
^ Jump up to: a b "The Uncut Crap – Over 56 Things You Never Knew About The Clash". NME. Vol. 3. London. 16 March 1991. ISSN 0028-6362. OCLC 4213418. 'Should I Stay Or Should I Go' was written by Mick about American singer Ellen Foley, who sang the backing vocals on Meatloaf's Bat Out Of Hell LP.
Jump up ^ Clash on Broadway Box Set liner notes (Media notes). Sony Music Entertainment Inc.
Jump up ^ Moser, Margaret (22 May 2000). "Music: Lubbock Calling (Austin Chronicle. 05-22-00)". The Austin Chronicle. Weekly Wire. Retrieved 22 November 2007. I ran into them accidentally in New York when they were cutting 'Should I Stay or Should I Go' and Strummer said, 'Hey, help me with my Spanish.' So me and Strummer and the Puerto Rican engineer sat down and translated the lyrics into the weirdest Spanish ever. Then we sang it all. When you listen to 'Should I Stay or Should I Go,' there's a place in the song where Mick says, 'Split.' Me and Strummer had been yelling out the Spanish background lyrics and we had snuck up behind him as he was recording. We were behind a curtain, jumped out at him in the middle of singing, and scared the shit out of him. He looks over and gives us the dirtiest look and says, 'Split!' They kept that in the final version.
Jump up ^ "Albums by The Clash". Rate Your Music. Retrieved 31 December 2007.
Jump up ^ The Clash's official music video for 'Should I Stay Or Should I Go' on YouTube
Jump up ^ "New Live Clash Album And DVD". Ultimate-Guitar.com. 8 June 2008. Retrieved 16 September 2015.
Jump up ^ "Forum – ARIA Charts: Special Occasion Charts – CHART POSITIONS PRE 1989". Australian-charts.com. Hung Medien. Archived from the original on 20 October 2013. Retrieved 16 June 2014.
Jump up ^ "Top RPM Singles: Issue 6196." RPM. Library and Archives Canada. Retrieved 15 July 2013.
^ Jump up to: a b "The Irish Charts – Search Results – Should I Stay or Should I Go". Irish Singles Chart. Retrieved 15 July 2013.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company. Retrieved 15 July 2013.
^ Jump up to: a b "The Clash – Awards". AllMusic. All Media Network. Retrieved 15 July 2013.
Jump up ^ "CASH BOX Top 100 Singles – Week ending MARCH 26, 1983". Archived from the original on 13 September 2012. . Cash Box magazine.
Jump up ^ "Austriancharts.at – The Clash – Should I Stay Or Should I Go" (in German). Ö3 Austria Top 40. Retrieved 16 June 2014.
Jump up ^ "Ultratop.be – The Clash – Should I Stay Or Should I Go" (in Dutch). Ultratop 50. Retrieved 16 June 2014.
^ Jump up to: a b c "Lescharts.com – The Clash – Should I Stay Or Should I Go" (in French). Les classement single. Retrieved 16 June 2014.
Jump up ^ "Offiziellecharts.de – The Clash – Should I Stay Or Should I Go". GfK Entertainment Charts. Retrieved 16 June 2014.
Jump up ^ "Nederlandse Top 40 – The Clash - Should I Stay Or Should I Go" (in Dutch). Dutch Top 40. Retrieved 16 June 2014.
Jump up ^ "Dutchcharts.nl – The Clash – Should I Stay Or Should I Go" (in Dutch). Single Top 100. Retrieved 16 June 2014.
Jump up ^ "Charts.org.nz – The Clash – Should I Stay Or Should I Go". Top 40 Singles. Retrieved 16 June 2014.
Jump up ^ "Norwegiancharts.com – The Clash – Should I Stay Or Should I Go". VG-lista. Retrieved 16 June 2014.
Jump up ^ "Swedishcharts.com – The Clash – Should I Stay Or Should I Go". Singles Top 100. Retrieved 16 June 2014.
Jump up ^ "Swisscharts.com – The Clash – Should I Stay Or Should I Go". Swiss Singles Chart. Retrieved 16 June 2014.
^ Jump up to: a b "Official Singles Chart Top 100". Official Charts Company. Retrieved 15 July 2013.
Jump up ^ "End of Year Charts 1992". Recorded Music NZ. Retrieved 3 December 2017.
Jump up ^ Zadeh, Joe (4 August 2011). "Jean Spirit: The Music Behind Levi's Adverts". Clash. Retrieved 8 August 2017.
Jump up ^ Bychawski, Adam (29 September 2012). "One Direction respond to claims they ripped off The Clash on 'Live While We're Young'". NME. Retrieved 1 August 2016.
Jump up ^ Gidick, Sarah (3 August 2016). "5 Things to Know About Winona Ryder's Stylish Comeback Show, 'Stranger Things'". The Hollywood Reporter. Retrieved 22 August 2016.
Jump up ^ Reed, Ryan (1 August 2016). "Hear 'Stranger Things'-Inspired Mixtape Featuring Smiths, Clash". Rolling Stone. Retrieved 22 August 2016.
Jump up ^ Minsker, Evan (10 August 2016). "Netflix's Stranger Things Soundtrack Detailed". Pitchfork. Retrieved 11 February 2017.
Preceded by
"Do the Bartman" by The Simpsons UK number-one single
9 March 1991 – 16 March 1991 (2 weeks) Succeeded by
"The Stonk" by Hale and Pace
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