It is also notable for being the only conventional music video that Zappa ever made. Thank you Lord, I love you Lord. The song is known for going out of its way to use improper English, basically mocking the rest of its context. Thingin' by introduced a further harmonic twist by transposing the chords of the second half of the tune by a tritone. Because of who you are I give you glory. In many ways, the challenge of the new music provided the underpinning of Who Are You's songs or at least the ones written by Townshend , but while Who Are You was the album's strongest and most compelling cut, it was also most closely rooted in the sound the Who had honed to perfection on Who's Next and Quadrophenia, right down to the sequenced synthesizer patterns, the more measured piano lines, the use of dynamics, the balance between Roger Daltrey's wailing lead vocals and Townshend's more subtle supporting work, and the tumbling drums of Keith Moon. The Who by Numbers: The Story of The Who Through Their Music.
His story is a commentary on African Americans who are not proud of their heritage and feel following the culture would bring them more acceptance. Angry and out of sorts, the drunken Townshend staggered out of the club, walked less than a block from the club, and passed out in a nearby doorway. Because of who you are I give you glory Because of who you are I give you praise Because of who you are, I will lift my voice and say: Lord I worship you because of who you are. The song has since been featured on multiple compilation albums. .
Fmi7 is the sixth degree in A flat; Bbmi7 is second degree in A flat, etc. Townshend collected himself, stumbled to a nearby tube station, and eventually made it back to his home in Richmond, where he informed his wife, Karen, who had been waiting up for him, I've been to Hell. And I worship you And I worship you not because of what you've done but just because of who. The modulations in this song are unusual for a pop song of the period and present challenges to a singer or improviser, including a semitone modulation that ends each A section these modulations start with measure 6 in the A and A 2 sections and measure 9 of the A 3 section , and a striking use of substitution at the turnaround of the B section last two measures of the B Section , where the G melody note over a E major chord turns into an A-flat over the F minor 7th of measure 1 of section A 3. Despite that being the first performance, this song had its roots in jams in the band's , most notably at , on 21 October 1976, drummer 's last North American appearance with The Who, where the band played a very early version of the song with Townshend on vocals. These themes overall relate to Zappa's dislike of. Cook and Jones, a bit puzzled by Townshend's tirade, could only respond that they were great fans of the Who and would be sad to see the group break up.
Daniel performed an emotional in the sing-off stages of in 2008 and featured on his debut album in 2010. He begins to talk like the character Kingfish, from the radio show , who was known for being a heavily stereotypical black character. The result is a tune that in the space of every chorus manages to include at least one chord built on every note of the Western 12-tone scale, a fact that was celebrated in jazz pianist 's reimagining of it on his album Twelve Tone Tales. Other versions replaced the phrase with just one of the main choruses, Tell me, who are you and I really want to know. And while he didn't quite seem to be one of the hated rock dinosaurs punk was meant to eradicate, he was still viewed as having more in common with Eric Clapton and Mick Jagger -- both near the top of the hit list -- than any of the young upstarts even Paul Weller of the Jam, the punk band with the most obvious stylistic debt to the Who, told Townshend in an interview it was high time the band started overhauling its live set.
The song is unusual in that it contains two instances of the word —at 2:16 and 5:43 at 2:14 and 4:27 in the single edit version —yet has been played frequently in its entirety on rock radio stations as compared to an edited form replacing it with hell. You reign, you reign in victory Jehovah Shaloh You're my prince of peace, yes you are My prince of peace. They also used the song to begin their set at on 12 December 2012. Groban has included To Where You Are in many of his concert sets in the years since the song was released, including at the in , in late 2002. The Jazz Standards: A Guide to the Repertoire.
It was the for 1982 single. Furthermore, an episode even took its title from the song Season 1 Episode 6. After going out drinking with and of the , Townshend was found in a doorway by a policeman, who let him go if he could safely walk away. Got drunk well, I did and I have to say to their credit, for a couple of figurehead anarchists, they seemed sincerely concerned about my decaying condition at the time. Then using simple , the B7 chord is used to bridge us from E minor to E major in bar 7. You see, you're Jehovah Jehovah Jirah My provider My provider Jehovah Nissi Jehovah Nissi Lord you reign Lord you reign in victory. The piano on the track is played by.
That the band sounded most assured and powerful on a song that most clearly reflected its classic style may have seemed ironic on an album featuring a tune called Music Must Change, but within a few months of Who Are You's release, the Who would be fundamentally and permanently changed, as the death of Keith Moon made it clear that try as it might, this band would never again sound the way it did in the early '70s, and in time Townshend would cease trying to follow that path. This type of progression generally relies on the roots of the chords being a 4th apart. The day left Townshend with a severe case of emotional malaise, and he felt a powerful desire to get drunk. You Are What You Is — 4:22 A2. The expletives, while not clearly enunciated and slightly obscured by Moon's drum fills, are nevertheless quite audible. So lay down your burdens Lay down your shame All who are broken Lift up your face Oh wanderer come home You're not too far So lay down your hurt Lay down your heart Come as you are There's hope for the hopeless And all those who've strayed Come sit at the table Come taste the grace There's rest for the weary Rest that endures Earth has no sorrow That heaven can't cure So lay down your burdens Lay down your shame All who are broken Lift up your face Oh wanderer come home You're not too far So lay down your hurt Lay down your heart Come as you are Come as you are Fall in his arms Come as you are There's joy for the morning Oh sinner be still Earth has no sorrow That heaven can't heal Earth has no sorrow That heaven can't heal So lay down your burdens Lay down your shame All who are broken Lift up your face Oh wanderer come home You're not too far So lay down your hurt Lay down your heart Come as you are Come as you are Come as you are. November 2018 All the Things You Are is a song composed by with lyrics written by.
Just because, just because Because of who you are I give you glory. The chords of the A 2 section precisely echo those of the initial eight measure A section, except the roots of each chord in the initial A section are lowered transposed down by a perfect 4th interval. Steve and Paul became real 'mates' of mine in the English sense. The subculture of the Mods -- a subculture which informed the early music of the Who, who in time would come to personify mod thinking in the eyes of many fans -- was once described as an effort to transform revolt into style. In the same vein, the melody sung over A 2 is identical to the A section melody except every pitch of every melody note is also lowered by a perfect 4th interval.
The Who opened their segment of on 20 October 2001 with the song and performed a featuring the song in. Former British The X Factor participants who have recorded their own versions of the song include , and most recently,. In bars 1-4 of this section, it is a simple ii - V - I progression. The single mix contains an alternate acoustic guitar solo to the album mix. Eventually the song goes into a frenzy of racial stereotyped including involving a loose story about working at the post office and referencing lyrics in the next song that serves as a segue until it transitions into the next song, Mudd Club. Note: although we never see a E minor chord in the composition during this section, it is important to note the relationship of the F º chord to E major.