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Author: Subject: Roll away the Dew?............

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  posted on 11/23/2010 at 05:05 AM
Franklins Tower. Just what does " Roll away the dew".....mean to you anyway?
My interpretation is you get up in the morning and dance to your favorite song. Like getting the morning dew to roll off you. Im not really sure exactly.......hmmm

 
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  posted on 11/23/2010 at 08:12 AM
Does it matter? It's a good sound, that evokes a good feeling......sheesh.... I sound like a deadhead!!!
 

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  posted on 11/23/2010 at 08:41 AM
Paging Robert Hunter...

Trying to make sense of Dead lyrics can be a daunting task.

 

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  posted on 11/23/2010 at 09:08 AM
I believe it has to do with the making/creation of the Liberty Bell. Franklin invented a method of rolling to dew to get rid of the steam on the hot metal by rolling it in cotton.

 

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  posted on 11/23/2010 at 09:13 AM
LOL...I remember reading the Liberty Bell explanation years ago and almost believing it. Almost.

http://artsites.ucsc.edu/GDead/agdl/shalit.html

 

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  posted on 11/23/2010 at 10:51 AM
by Grateful Dead master lyricist Robert Hunter

quote:
Fractures of Unfamiliarity & Circumvention in Pursuit of a Nice Time
Dear Jurgen,

meaning is not an irreducible Ur-language. A good lyric is allusion, illusion, subterfuge and collusion. A poor lyric is information about its own paucity of resource. That doesn't mean the latter cannot be a great song. There is nothing inherently better about a dumb song than one which calls attention to the intelligence of its writer. It's a matter of taste, but meaning is often a subterfuge to distract the listener's attention from a writer's lack of multiple resources. This is often true of blatant "message" songs.
How does a song mean?
As long as allusions can be codified, the semiotician is content, knowing that "meaning" is a case-sensitive term with scant referentiality outside implementation of primitive needs. When the semiotician suspects allusiveness without corresponding exact reference, he charges the poet with nonsense. Nonsense is a loaded word, the meaning of which is unclear. If it is understood as "intentional multi-referentiality without predetermined hierarchy" rather than "meaningless blather" one would find no fault with the term. But it isn't, so the charge of "nonsense" and "meaninglessness" levied by a scholarly and plausible source, does much to put people off exploring further.

"The repair sad mutthead forkbender orange in the how are you, did they?" is nonsense without reference, hence not allusive. Had it discernible rhythm, it might be termed 'rhythm allusive' but my example lacks even that. The only way on earth such a sentence would likely get written is as an example of a null allusive set. Bingo! An allusion! To Set Theory! The exception that proves the rule.

How does a song mean?
The meaning(s), or lack thereof, ascribed by others to an example of lyric work are not part of the work. The interpretations are separate "works". The manner in which an audience receives the work, what they, collectively and individually, make of it, can indeed provide potential data for the allusiveness (referentiality)of future lyrics, gainsaid, but cannot be ascribed as a characteristic of the particular work, per se, with validity without "insider information" which is, in any case, no part of the song. That way lies true nonsense, even unto deconstruction. Yet the little bugger of a jingle persists and seems to move hearts. Why? Is there something which semiotics, by its nature and presuppositions, must exclude from the sphere of "meaningfulness" due to the limited nature of its tools?

How does semiotics mean?
Since the concluding remark of your essay stated that the Grateful Dead songs are "meaningless" I choose to reply by explicating one of your examples: "Franklin's Tower." I do this reluctantly because I feel that a straightforward statement of my original intent robs the listener of personal associations and replaces them with my own. I may know where they come from, but I don't know where they've been. My allusions are, admittedly, often not immediately accessible to those whose literary resources are broadly different than my own, but I wouldn't want my listeners' trust to be shaken by an acceptance of the category "meaningless" attached to a bundle of justified signifiers whose sources happen to escape the scope of simplistic reference.

How does the song go?
FRANKLIN'S TOWER

In another time's forgotten space
your eyes looked through your mother's face
Wildflower seed on the sand and stone
may the four winds blow you safely home

4x: Roll away... the dew

You ask me where the four winds dwell
In Franklin's tower there hangs a bell
It can ring, turn night to day
Ring like fire when you lose your way

Roll away... the dew . . .

God help the child who rings that bell
It may have one good ring left, you can't tell
One watch by night, one watch by day
If you get confused just listen to the music play

Roll away... the dew . . .

Some come to laugh their past away
Some come to make it just one more day
Whichever way your pleasure tends
if you plant ice, you're gonna harvest wind

Roll away... the dew . . .

In Franklin's Tower the four winds sleep
Like four lean hounds the lighthouse keep
Wildflower seed in the sand and wind
May the four winds blow you home again

4x: Roll away... the dew
You better roll away the dew
---------------------------------
What's it about?
EXPLICATION:

In another time's forgotten space
your eyes looked through your mother's face
Wildflower seed on the sand and stone
may the four winds blow you safely home.

<surface intent>
[You have your mother's eyes, child,
the very shape, color and intensity
of the eyes that looked through
her face so long ago. Borne on the
varied winds of chance and change,
like a dandelion seed, you may find
yourself deposited on barren soil.
My wish for you is that the forces
that brought you there may sweep
you up again and bear you to fertile ground.]

<deeper intent>
"In another time's forgotten space
your eyes looked through your mother's face."
[Relative immortality of the human
species is realized through reproduction.
Dominant traits inherited from an ancestor,
the lyric suggests, share more than mere
similarity with those of the forebear,
but are an identity, endlessly reproducible.
In other words, when someone says
"You have your mother's eyes"
they are not speaking in simile
nor would it be incorrect to say
that "your mother has your eyes,"
if, in fact, possessiveness is
an appropriate term in the context.
Poetic license will assume it is,
if only for the sake of moving on
to the next couplet.]

You ask me where the four winds dwell
In Franklin's tower there hangs a bell
It can ring, turn night to day
Ring like fire when you lose your way

[note that this song appeared in 1975,
the year after my son was born and the
year before the American Bicentennial.
Both facts are entirely relevant. The
allusion to the Liberty Bell and the
situation of the Philadelphia Congress
in the hometown of Ben Franklin has not
gone unnoticed by other commentators.
This song is a birthday wish both for
my son and for my country, each young
and subject to the winds of vicissitude.
Individual and collective freedom,
liberty, conscience, all that is conjured
by those concepts, is suggested
in the image of the tolling bell.]

God help the child who rings that bell
It may have one good ring left, you can't tell
One watch by night, one watch by day
If you get confused just listen to the music play

[The Bell, rung once, cracked and could not
be safely rung again. From an actual bell,
it therefore became a symbol of the
potential to ring. The single toll, signaling
birth, can now be heard only in its
reverberations in our history and ideals.
Some have had to bear those ideals in
difficult circumstances (war, the Great
Depression and general benightedness)
others have had the more enviable task
of keeping watch (eternal vigilance)
during periods of conscious and dynamic
change: the full light of day. The sixties,
the writer assumes, were such a time.
You can't tell if ringing that bell
a second time would destroy it in
the act of producing another mighty
peal and it might be foolish, if courageous,
to try. Perhaps the "music"of
the original ideals symbolized by
the first and only toll should be taken
to heart and implemented, rather than
obviated by a new source of ideation
(communism, anarchy, religion based
governmental apparatus. etc.) To resolve
this confusion, pay attention to the
original inspiration (the Constitution,
the Bill of Rights, collectively.
Individually, maintain awareness of
conscience and one's own early ideals.]

Some come to laugh their past away
Some come to make it just one more day
Whichever way your pleasure tends
if you plant ice, you're gonna harvest wind

[This verse scarcely needs commentary
in light of the above remarks. The precursor
to the 1st couplet is "I Come for to Sing" as
performed, possibly written, by Pete Seegar.
The 2cnd couplet source is the biblical
"Who sows wind reaps the hurricane."]

In Franklin's Tower the four winds sleep
Like four lean hounds the lighthouse keep
Wildflower seed in the sand and wind
May the four winds blow you home again

[We assume a bell tower for the great bell.
By the trope of simile, we see the bell tower
(the day watch) turned to a lighthouse
and the four winds become sleeping hounds,
(the night watch) worn out by the events
of such a metaphorical day as related
by e.e.cummings in his familiar lyric
"All in Green Went My Love Riding"
(Poem 6 from TULIPS AND CHIMNEYS)
"four lean hounds crouched low
and smiling . . ." By the use of quotative
allusion the lyric attempts to borrow
some of the emotive spark of cumming's
poem, providing a kind of "link button"
into a different but complementary space.
Allusion here functions as a sort of
shorthand cross-patch into a series
of metaphoric events which, with
a double-clutch shift of simile,
access a downloadable description of
the kind of day it's been for a 'wildflower
seed' in its adventures in the wind.
There may be some objection to the
elastic interchangeability of the similes
of hounds and winds in this set of couplets,
but the test of the allusion, as I see it,
is whether or not the appropriate emotions
are evoked to lead to satisfying closure
and an opening door on other possibilities.]

[Now to the real stretch: "Roll away the dew."
The line is appropriated from a fairly
well known sea chantey whose chorus goes:
"Roll away the morning dew
and sweet the winds shall blow."
As surely everyone knows by now,
Bonnie Dobson's song "Morning Dew"
(made famous by Garcia's singing of it)
is set in the aftermath of nuclear war.
Reason he can't "walk you out
in the morning dew, my honey"
is because of fallout, though Garcia
has wisely dropped the verse
containing this denouement, allowing
the song a heightened romantic mystery,
achieved through open-ended ambiguity.
For generations now alive,
the nuclear specter personifies
the forces which most threaten our
attempt at Jeffersonian democracy.
With the song's sub-allusion to
"Roll away the Stone," an anthem
of joyous Eastertide resurrection,
a resultant combination message
of dire necessity (as in the final:
you've got to roll away the dew)
and promise of renewal, in case
resolution is effected, are enjoined.
Should this hyper-allusive train
of thought become too confusing
to process, the invitation to just
"listen to the music play"
acknowledges both the melody
and performance context of the lyric
and the metaphoric bell described above.]

Well, now that you know what I meant by it,
it's no great shakes is it? Mystery gone,
the magician's trick told, the gluttony
for "meaning" temporarily satisfied,
one can now take issue with my intent
and avoid the song itself, substituting
the assignable significance for the music.

Attempts by language to overdetermine language are doomed out the door, so I content myself with providing these clues for threading the maze of "Franklin's Tower" and as a grudging key to my methods. I feel that much of what you've said in your essay is rich, correct and thought provoking and appreciate your accurate estimation of the concert context as adjunct to the lyric, and vice versa. The contextual sub-meaning (the way the song manifests itself in concert) is certainly a factor which occasionally determines certain choices in subsequent material. Too much of that would be a striving after sameness of effect, though (even if it does all sound the same to an uninitiated ear.)

Oh, one other thing: you labeled "what a long, strange trip it's been" as "cliched." Aren't you putting the cart before the horse? "Truckin'" was the originating vehicle of the phrase, which had not, to my knowledge, been coined before. The fact that it has entered the catchphrase banks of the language in a ubiquitous way may render subsequent usage cliched, but surely not the invention itself, unless all widely adopted phrases are deemed trite by virtue of their durability. You also mentioned that the "What in the world ever became of Sweet Jane?/She's lost her sparkle, you know she isn't the same" verse was probably an in-joke not meant for a broad audience to grasp. The intention was a parody of the '40's warning-style of singing commercial, specifically "Poor Millicent, poor Millicent/ She ne-ver used Pep-so-dent/ Her smile grew dim/ And she lost her vim / So folks don't be like Millicent / Use Pep-so-dent! " I'm sure that the allusiveness, not that entirely outre in the '60's, is well lost here in the '90's. So, it's perhaps an in-joke, but not one meant for private consumption. Just a bit of black humor that fails to fire and emerges, instead, as an enigma. I guess the question here is whether an allusion must be blatantly perceivable as such in order to avoid the uncharitable label of "nonsense."

Thank you for taking my work seriously enough to spend considerable effort in explicating it according to your lights.

Robert Hunter 3/4/96


http://www.guitarzone.com/forum/topic/165021-an-intersting-essay-on-the-mea ning-of-songs/

 

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  posted on 11/23/2010 at 11:04 AM
I love how some of Hunter's lyrics are as cryptic as some of Dylan's lyrics!

Love Hunter/Garcia collaboration

 

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  posted on 11/23/2010 at 11:07 AM
quote:
by Grateful Dead master lyricist Robert Hunter

quote:
Fractures of Unfamiliarity & Circumvention in Pursuit of a Nice Time
Dear Jurgen,

meaning is not an irreducible Ur-language. A good lyric is allusion, illusion, subterfuge and collusion. A poor lyric is information about its own paucity of resource. That doesn't mean the latter cannot be a great song. There is nothing inherently better about a dumb song than one which calls attention to the intelligence of its writer. It's a matter of taste, but meaning is often a subterfuge to distract the listener's attention from a writer's lack of multiple resources. This is often true of blatant "message" songs.
How does a song mean?
As long as allusions can be codified, the semiotician is content, knowing that "meaning" is a case-sensitive term with scant referentiality outside implementation of primitive needs. When the semiotician suspects allusiveness without corresponding exact reference, he charges the poet with nonsense. Nonsense is a loaded word, the meaning of which is unclear. If it is understood as "intentional multi-referentiality without predetermined hierarchy" rather than "meaningless blather" one would find no fault with the term. But it isn't, so the charge of "nonsense" and "meaninglessness" levied by a scholarly and plausible source, does much to put people off exploring further.

"The repair sad mutthead forkbender orange in the how are you, did they?" is nonsense without reference, hence not allusive. Had it discernible rhythm, it might be termed 'rhythm allusive' but my example lacks even that. The only way on earth such a sentence would likely get written is as an example of a null allusive set. Bingo! An allusion! To Set Theory! The exception that proves the rule.

How does a song mean?
The meaning(s), or lack thereof, ascribed by others to an example of lyric work are not part of the work. The interpretations are separate "works". The manner in which an audience receives the work, what they, collectively and individually, make of it, can indeed provide potential data for the allusiveness (referentiality)of future lyrics, gainsaid, but cannot be ascribed as a characteristic of the particular work, per se, with validity without "insider information" which is, in any case, no part of the song. That way lies true nonsense, even unto deconstruction. Yet the little bugger of a jingle persists and seems to move hearts. Why? Is there something which semiotics, by its nature and presuppositions, must exclude from the sphere of "meaningfulness" due to the limited nature of its tools?

How does semiotics mean?
Since the concluding remark of your essay stated that the Grateful Dead songs are "meaningless" I choose to reply by explicating one of your examples: "Franklin's Tower." I do this reluctantly because I feel that a straightforward statement of my original intent robs the listener of personal associations and replaces them with my own. I may know where they come from, but I don't know where they've been. My allusions are, admittedly, often not immediately accessible to those whose literary resources are broadly different than my own, but I wouldn't want my listeners' trust to be shaken by an acceptance of the category "meaningless" attached to a bundle of justified signifiers whose sources happen to escape the scope of simplistic reference.

How does the song go?
FRANKLIN'S TOWER

In another time's forgotten space
your eyes looked through your mother's face
Wildflower seed on the sand and stone
may the four winds blow you safely home

4x: Roll away... the dew

You ask me where the four winds dwell
In Franklin's tower there hangs a bell
It can ring, turn night to day
Ring like fire when you lose your way

Roll away... the dew . . .

God help the child who rings that bell
It may have one good ring left, you can't tell
One watch by night, one watch by day
If you get confused just listen to the music play

Roll away... the dew . . .

Some come to laugh their past away
Some come to make it just one more day
Whichever way your pleasure tends
if you plant ice, you're gonna harvest wind

Roll away... the dew . . .

In Franklin's Tower the four winds sleep
Like four lean hounds the lighthouse keep
Wildflower seed in the sand and wind
May the four winds blow you home again

4x: Roll away... the dew
You better roll away the dew
---------------------------------
What's it about?
EXPLICATION:

In another time's forgotten space
your eyes looked through your mother's face
Wildflower seed on the sand and stone
may the four winds blow you safely home.

<surface intent>
[You have your mother's eyes, child,
the very shape, color and intensity
of the eyes that looked through
her face so long ago. Borne on the
varied winds of chance and change,
like a dandelion seed, you may find
yourself deposited on barren soil.
My wish for you is that the forces
that brought you there may sweep
you up again and bear you to fertile ground.]

<deeper intent>
"In another time's forgotten space
your eyes looked through your mother's face."
[Relative immortality of the human
species is realized through reproduction.
Dominant traits inherited from an ancestor,
the lyric suggests, share more than mere
similarity with those of the forebear,
but are an identity, endlessly reproducible.
In other words, when someone says
"You have your mother's eyes"
they are not speaking in simile
nor would it be incorrect to say
that "your mother has your eyes,"
if, in fact, possessiveness is
an appropriate term in the context.
Poetic license will assume it is,
if only for the sake of moving on
to the next couplet.]

You ask me where the four winds dwell
In Franklin's tower there hangs a bell
It can ring, turn night to day
Ring like fire when you lose your way

[note that this song appeared in 1975,
the year after my son was born and the
year before the American Bicentennial.
Both facts are entirely relevant. The
allusion to the Liberty Bell and the
situation of the Philadelphia Congress
in the hometown of Ben Franklin has not
gone unnoticed by other commentators.
This song is a birthday wish both for
my son and for my country, each young
and subject to the winds of vicissitude.
Individual and collective freedom,
liberty, conscience, all that is conjured
by those concepts, is suggested
in the image of the tolling bell.]

God help the child who rings that bell
It may have one good ring left, you can't tell
One watch by night, one watch by day
If you get confused just listen to the music play

[The Bell, rung once, cracked and could not
be safely rung again. From an actual bell,
it therefore became a symbol of the
potential to ring. The single toll, signaling
birth, can now be heard only in its
reverberations in our history and ideals.
Some have had to bear those ideals in
difficult circumstances (war, the Great
Depression and general benightedness)
others have had the more enviable task
of keeping watch (eternal vigilance)
during periods of conscious and dynamic
change: the full light of day. The sixties,
the writer assumes, were such a time.
You can't tell if ringing that bell
a second time would destroy it in
the act of producing another mighty
peal and it might be foolish, if courageous,
to try. Perhaps the "music"of
the original ideals symbolized by
the first and only toll should be taken
to heart and implemented, rather than
obviated by a new source of ideation
(communism, anarchy, religion based
governmental apparatus. etc.) To resolve
this confusion, pay attention to the
original inspiration (the Constitution,
the Bill of Rights, collectively.
Individually, maintain awareness of
conscience and one's own early ideals.]

Some come to laugh their past away
Some come to make it just one more day
Whichever way your pleasure tends
if you plant ice, you're gonna harvest wind

[This verse scarcely needs commentary
in light of the above remarks. The precursor
to the 1st couplet is "I Come for to Sing" as
performed, possibly written, by Pete Seegar.
The 2cnd couplet source is the biblical
"Who sows wind reaps the hurricane."]

In Franklin's Tower the four winds sleep
Like four lean hounds the lighthouse keep
Wildflower seed in the sand and wind
May the four winds blow you home again

[We assume a bell tower for the great bell.
By the trope of simile, we see the bell tower
(the day watch) turned to a lighthouse
and the four winds become sleeping hounds,
(the night watch) worn out by the events
of such a metaphorical day as related
by e.e.cummings in his familiar lyric
"All in Green Went My Love Riding"
(Poem 6 from TULIPS AND CHIMNEYS)
"four lean hounds crouched low
and smiling . . ." By the use of quotative
allusion the lyric attempts to borrow
some of the emotive spark of cumming's
poem, providing a kind of "link button"
into a different but complementary space.
Allusion here functions as a sort of
shorthand cross-patch into a series
of metaphoric events which, with
a double-clutch shift of simile,
access a downloadable description of
the kind of day it's been for a 'wildflower
seed' in its adventures in the wind.
There may be some objection to the
elastic interchangeability of the similes
of hounds and winds in this set of couplets,
but the test of the allusion, as I see it,
is whether or not the appropriate emotions
are evoked to lead to satisfying closure
and an opening door on other possibilities.]

[Now to the real stretch: "Roll away the dew."
The line is appropriated from a fairly
well known sea chantey whose chorus goes:
"Roll away the morning dew
and sweet the winds shall blow."
As surely everyone knows by now,
Bonnie Dobson's song "Morning Dew"
(made famous by Garcia's singing of it)
is set in the aftermath of nuclear war.
Reason he can't "walk you out
in the morning dew, my honey"
is because of fallout, though Garcia
has wisely dropped the verse
containing this denouement, allowing
the song a heightened romantic mystery,
achieved through open-ended ambiguity.
For generations now alive,
the nuclear specter personifies
the forces which most threaten our
attempt at Jeffersonian democracy.
With the song's sub-allusion to
"Roll away the Stone," an anthem
of joyous Eastertide resurrection,
a resultant combination message
of dire necessity (as in the final:
you've got to roll away the dew)
and promise of renewal, in case
resolution is effected, are enjoined.
Should this hyper-allusive train
of thought become too confusing
to process, the invitation to just
"listen to the music play"
acknowledges both the melody
and performance context of the lyric
and the metaphoric bell described above.]

Well, now that you know what I meant by it,
it's no great shakes is it? Mystery gone,
the magician's trick told, the gluttony
for "meaning" temporarily satisfied,
one can now take issue with my intent
and avoid the song itself, substituting
the assignable significance for the music.

Attempts by language to overdetermine language are doomed out the door, so I content myself with providing these clues for threading the maze of "Franklin's Tower" and as a grudging key to my methods. I feel that much of what you've said in your essay is rich, correct and thought provoking and appreciate your accurate estimation of the concert context as adjunct to the lyric, and vice versa. The contextual sub-meaning (the way the song manifests itself in concert) is certainly a factor which occasionally determines certain choices in subsequent material. Too much of that would be a striving after sameness of effect, though (even if it does all sound the same to an uninitiated ear.)

Oh, one other thing: you labeled "what a long, strange trip it's been" as "cliched." Aren't you putting the cart before the horse? "Truckin'" was the originating vehicle of the phrase, which had not, to my knowledge, been coined before. The fact that it has entered the catchphrase banks of the language in a ubiquitous way may render subsequent usage cliched, but surely not the invention itself, unless all widely adopted phrases are deemed trite by virtue of their durability. You also mentioned that the "What in the world ever became of Sweet Jane?/She's lost her sparkle, you know she isn't the same" verse was probably an in-joke not meant for a broad audience to grasp. The intention was a parody of the '40's warning-style of singing commercial, specifically "Poor Millicent, poor Millicent/ She ne-ver used Pep-so-dent/ Her smile grew dim/ And she lost her vim / So folks don't be like Millicent / Use Pep-so-dent! " I'm sure that the allusiveness, not that entirely outre in the '60's, is well lost here in the '90's. So, it's perhaps an in-joke, but not one meant for private consumption. Just a bit of black humor that fails to fire and emerges, instead, as an enigma. I guess the question here is whether an allusion must be blatantly perceivable as such in order to avoid the uncharitable label of "nonsense."

Thank you for taking my work seriously enough to spend considerable effort in explicating it according to your lights.

Robert Hunter 3/4/96


http://www.guitarzone.com/forum/topic/165021-an-intersting-essay-on-the-mea ning-of-songs/


Right. Thats what I thought

 

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  posted on 11/23/2010 at 01:28 PM
You know what? If you plant ice your gonna harvest wind.

 

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  posted on 11/23/2010 at 02:06 PM
Wrap yourself in a giant Gumby suit made of sponge and roll around your yard until it's dry. You may have to do this every morning.

 

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  posted on 11/23/2010 at 02:58 PM
quote:
I love how some of Hunter's lyrics are as cryptic as some of Dylan's lyrics!

Love Hunter/Garcia collaboration


When I was reading the narrative above, I immediately thought of Dylan's lyrics as well.


"You Ain't Goin' Nowhere" comes to mind.

 

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  posted on 11/23/2010 at 06:21 PM
That's great stuff.

 

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  posted on 11/23/2010 at 06:21 PM
Well that ruins the song for me.

Seriously, I like it better when I don't know.

 

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  posted on 11/23/2010 at 07:02 PM
In the end, a song's ultimate meaning is what it means to you...
















 

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World Class Peach



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  posted on 11/23/2010 at 08:09 PM
I remember the Dead playing Franklin's Tower at Red Rocks in 1983. It was really cool!

 

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  posted on 11/23/2010 at 09:03 PM
Awesome. Thanks for the replies. bigCTfan your response reminds me of what my cousin would probably say to me. He saw alot of GD shows.
Well after reading the dissertation-style -needing 8 years-of-Ivy-League-college-type-to-fully-understand, explanation from Robert Hunter. I conclude: For me, 'Roll away the dew' means: every day is a new beginning. Roll on........

 

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  posted on 11/23/2010 at 09:09 PM
very cool
I never thought too much about the lyrics, but I wouldn't have guessed that Franklin's tower is about the Liberty Bell.
Hunter is one of the top lyricists of our time.

 
 


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