The guilty undertaker sighs
The lonesome organ grinder cries
The silver saxophones say I should refuse you
The cracked bells and washed-out horns
Blow into my face with scorn
But it’s not that way
I wasn’t born to lose you
I want you, I want you
I want you so bad
Honey, I want you
“I Want You” + “Political World”
Hammersmith Odeon
London, England
8 February 1990
- Bob Dylan (vocal & guitar)
- G. E. Smith (guitar)
- Tony Garnier (bass)
- Christopher Parker (drums)
The drunken politician leaps
Upon the street where mothers weep
And the saviors who are fast asleep, they wait for you
And I wait for them to interrupt
Me drinkin’ from my broken cup
And ask me to
Open up the gate for you
I want you, I want you
I want you so bad
Honey, I want you
How all my fathers, they’ve gone down
True love they’ve been without it
But all their daughters put me down
’Cause I don’t think about it
Well, I return to the Queen of Spades
And talk with my chambermaid
She knows that I’m not afraid to look at her
She is good to me
And there’s nothing she doesn’t see
She knows where I’d like to be
But it doesn’t matter
I want you, I want you
I want you so bad
Honey, I want you
Now your dancing child with his Chinese suit
He spoke to me, I took his flute
No, I wasn’t very cute to him, was I?
But I did it, though, because he lied
Because he took you for a ride
And because time was on his side
And because I . . .
I want you, I want you
I want you so bad
Honey, I want you
Check out:
- Alldylan @ Facebook
- –
- Bob Dylan concert videos/audio from 1990 – 1995 @ alldylan.com
- Bob Dylan: Concerts & Videos from 1996 – 1999 @ Alldylan.com
- Bob Dylan: 10 concert videos you MUST see from the 90’s
- –
- Karl Erik’s expectingrain.com
- Olof’s “Still On The Road“
-Egil
Had posted elsewhere re: analysis of” Cross the Green Mountain”, where I said that closest form to it was “Like a Rolling Stone”, but listened today to “I want You”, where the changes and form were similar, and also pretty complex; Probably based in C, with Em, Am, G, then (here’s where the similarity gets high)F, G, Am, G, so intro is descending then turnaround at the end of first phrase, when it becomes ascending. These structures create a lot of tension which gets nicely resolved at the end of the second phrase at G. Then repeats a few stanzas, then a setup in Em which proceeds to Am, then Em again, F and finishes at G, returns to C and repeats.
The original may be in another key, but the chord sound makes me think it was Cmaj.
A great song, very upbeat and honest, open and alive.
Some super fast arpeggios on guitar…
I was there that night 🙂 – my first Dylan concert. A memorable evening.
wonderful memories ! I was at a number of these ’90 concerts, and they have a special place in my heart.