The Joplin version was used prominently in the epilogue of Rainer Werner Fassbinder's epic film of Berlin Alexanderplatz. Kristofferson performed the song live at the Isle of Wight Festival 1970 and a CD and DVD of the event were issued 30 years later as Message to Love: The Isle of Wight Festival 1970. The Dead regularly covered the song between 19. She also had heard Bob Weir of The Grateful Dead's accelerated ending and liked it so much she added her much more energetic "rap" to the end of the song. 148 on Rolling Stone's list of the 500 Greatest Songs of All Time. Joplin's version topped the charts to become her only number one single and in 2004, her version of this song was ranked No. The first time he heard her recording of it was the day after she died. Kristofferson did not know she had covered it until after her death. Kristofferson had sung the song for her, and singer Bob Neuwirth taught it to her. Joplin also covered the song for inclusion on her Pearl album only a few days before her death in October 1970. The song was later included on a Statler Brothers album, and was not released as a single. The Reids say there were no hard feelings, and were happy about Miller's success with the song. In a 2008 autobiography, Don Reid and Harold Reid of the Statler Brothers say Kristofferson promised it to them, but when they later inquired about recording it, they learned Miller had already cut the song. Lightfoot sang the song after a detailed tribute to Kris Kristofferson in a CBC broadcast from the summer 1969 Charlottetown Festival. 1 country in his native Canada in 1970, and was also a top 10 hit in South Africa in 1971. Roger Miller was the first artist to have a hit with the song, peaking with it at No. Recordings and notable performances "Me and Bobby McGee" She parts ways with the narrator who still continues his lifestyle, though he might never be happy again without her, as he would trade his life just to be with her again for just one day. The couple travels to California, as they grow more intimate and help each other through the hardships of life, but by the final verse, Bobby gets tired of the road life and decides to settle down. He speaks about thumbing a diesel truck and singing with the driver all the way. The song was essentially a road story about two drifters, the narrator and his girlfriend Bobby McGee (boyfriend in Joplin's version). How does that grab you?’ (Laughs) I said, ‘Uh, I’ll try to write it, but I’ve never written a song on assignment.’ So it took me a while to think about. Then Fred says, ‘The hook is that Bobby McKee is a she. It’s “Me and Bobby McKee.”’ I thought he said ‘McGee.’ Bobby McKee was the secretary of Boudleaux Bryant, who was in the same building with Fred. He called one night and said, ‘I’ve got a song title for you. In a conversation with director Monte Hellman called "Somewhere Near Salinas" (available in the supplements to the Two-Lane Blacktop Criterion Collection DVD release, a film in which Kristofferson's version is used on the soundtrack), Kristofferson states that the film La Strada was an inspiration for the song and remarks on the irony of how a song inspired by a classic " road movie" should come to be used in another. Kristofferson states he did not write this song for her, but the song is associated with her, especially in the line "Somewhere near Salinas, Lord, I let her slip away." Joplin, who was allegedly a lover (but also a good friend and mentor) of Kristofferson's from the beginning of her career to her death changed the sex and a few of the lyrics in her cover. In the original version of the song, Bobby is a woman. 3 Chart positions (Roger Miller version).4 Chart positions (Roger Miller version).3 Recordings and notable performances.
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