is a not-for-profit resource.Īll advertising proceeds are used to maintain its They say you'll hear your own bones crackĮmail This Song To your friends | All Music News | Top Albums | Browse All LyricsĪnd are the property of their respective authors &, artists and labels. It's nice to report that Zevon gets his dying wish: it seems unlikely that anyone who hears The Wind is liable to forget it in a hurry.Lyrics: Warren Zevon - Prison Grove Song Lyrics | Best Lyrics | Add Song | TOP 100 Lyrics "Shadows are falling and I'm running out of breath, keep me in your heart for a while," he pleads on the album's lovely closing track. The net result is an occasionally uncomfortable but unique record. Produced by Jorge Caldern / Noah Scot Snyder / Warren Zevon Recorded at Cherokee Studios / Anatomy Of A Headache / Sunset Sound / The Cave / Groovemasters.
Similarly, a cover version of Bob Dylan's Knockin' On Heaven's Door might seem to be labouring the point, but then, if you were suffering from inoperable lung cancer, you might feel inclined to labour the point as well. In normal circumstances, you could say the song was laying it on a bit thick, but these are not normal circumstances, and the song works to chilling effect. It is hard not to feel you are eavesdropping on a personal conversation that you shouldn't really be listening to, however beautiful the melody.Īt the other end of the scale, Numb as a Statue sweetly addresses Zevon's fans, and Dirty Life and Times offers a final burst of wry wit: "I'm looking for a woman with low self-esteem," he sings, apparently scanning the personal ads from his deathbed, "to lay me out and ease my worried mind." Prison Grove is starkly terrifying, a bluesy dirge featuring a grimly chanted chorus, slide guitar by Ry Cooder and a spectacularly bleak lyric about being led to execution. The circumstances in which it was written and recorded turn El Amor de Mi Vida from a straightforward song ruefully reflecting on a lost love into an oddly invasive experience. Nevertheless, its curiously unassuming nature lends the album an unsettling power that all the weighty pronouncements in the world could not match.ĭespite the all-star supporting cast - including Bruce Springsteen, Jackson Browne, The Eagles' Don Henley and Emmylou Harris - it is musically and lyrically understated, and frequently suffused with an almost unbearable poignancy. Warren Zevon and Bruce Springsteen, Prison Grove. "If I can let someone know what I felt about them," he said in an interview earlier this year, "that's more important than passing off some bullshit insight I've had about living on the planet." You suspect that if Zevon had attempted to do the latter, critics - particularly in the US, where the album was released shortly before Zevon's death - would still have acclaimed The Wind as a masterpiece. Bruce pays tribute to the late, great Warren Zevon in Toronto, Clarence appears on Late Night with David Letterman, and Gene Siskel reveals what he and Bruce have in common when it comes to movies. Before his death, Zevon was open about his reasons for making the album. Then again, objectivity does not seem to be the point of The Wind. It is, of course, virtually impossible to be objective about the musical last-will-and-testament of an artist who died only five days ago. Important: The song above is NOT stored on the Chordie server. His rhetoric was clever enough to earn him the tag of "the songwriter's songwriter", but it hardly seemed the ideal style with which to tackle the subject of imminent death. In addition, Zevon's speciality was flippant, sardonic wordplay and a kind of ironic detachment. His most recent anthology boasted the title I'll Sleep When I'm Dead. His oeuvre was studded with titles such as Life'll Kill Ya and Don't Let Us Get Sick.
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For most of his career, Zevon seemed preoccupied with illness and death. Complete list of Warren Zevon music featured in movies, tv shows and video games.
So the news that American singer-songwriter Warren Zevon, who was diagnosed with inoperable lung cancer in August 2002, had chosen to make a farewell album was greeted with understandable curiosity. George Harrison's final album, Brainwashed, saw the quiet Beatle largely avoid the subject of his mortality, before signing off with a rather grumpy title track on which the pet subject of unfair taxation made a final appearance. Queen's Innuendo had Freddie Mercury Judy Garlanding his way to the grave, coming up with songs called things like The Show Must Go On. The two major examples to date featured terminally ill superstars playing to type. However, actual musical epitaphs - albums made by artists who know they are going to die - are a rare occurrence.
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