It’s about love, separation, desire and enjoying the “same old, same old.” The gentle acoustic guitar work is gorgeously voiced. Williams: “This … represents the ache of monogamy… What I’m realizing now is that sometimes the ‘same old same old’ can actually be rich, worthwhile and a great adventure.īillboard: A beautiful song about a break-up, “Same Old Same Old” is the sort of song you expect to hear during the emotional climax of a dramatic film. White and Williams alternate on verses that Williams describes to a tee.
#Civil wars lyrics devil backbone full#
It’s full of innuendo and Southern Gothic tones.”īillboard: Distorted electric guitars announce that the hush of “Barton Hollow” is a thing of the past.
Williams: “It’s a little brooding, a little dangerous.
The use of the mandolin is similar that of R.E.M., lingering in the shadows amidst a storm of guitars. … I remember asking John Paul to play quietly so he didn’t wake up the baby.”īillboard: A powerful lead-off track driven by Williams’ anguish-filled vocals and a compelling use of dynamics. John Paul and I wrote this song in the screened-in porch of my new home. That’s the song that truly saves people.Joy Williams: “This song pays homage to regret. Cause I’m telling you that’s the song people want to hear. One song that would let God know how you felt about your time here on Earth. One song that people would remember before you’re dirt. “If you was hit by a truck and you was lying out there in the gutter, and you had time to sing one song. The song, in my opinion, epitomizes the words spoken by record producer Sam Philips in the film Walk the Line, There is no veil to hide behind this time the mysteriousness that The Civil Wars cultivated is no longer there. ‘Until the Levee’ however, takes this to a new level of stripped down rawness and vulnerability. Those who are familiar with The Civil Wars will be in no doubt about Joy’s vocal prowess or her ability to take the listener on an emotional journey. The song is incredibly cathartic for both the listener and Joy herself particularly when performed live, which I had the opportunity to witness last week when Joy performed at Islington Assembly Hall. “I’m gonna stand here in the ache, the ache, the ache/ So go on and let it break/ Take all I can take.” The layering of vocals, the production effects and the chorus of vocals all surge and swell like a river, until the lyrical crescendo where acceptance and the act of letting go takes over. These lyrics bring to mind past songs by the duo such as ‘The Devil’s Backbone’ and ‘Barton Hollow’, which evoke the Southern Gothic/ Americana vibe that Joy Williams and John Paul White seem to be effortless at creating. “I see a ghost out on the water/ I swear it has my face/ I bend and drink the lonely down, the lonely down.” The song is lyrically full and creates a very intense and dark backdrop, which is very much reminiscent of the darker stories and imagery The Civil Wars were capable of conjuring up Heavy production can sometimes overwhelm or suffocate a song but in this case the production and effects add to the story and emphasise the lyrical imagery giving the song an atmospheric quality. It is also quite different from The Civil Wars in terms of its heavy production and lack of organic instrumentation. The song is a definite departure from Joy’s previous work in terms of lyrics, instrumentation, production and imagery.
The outcome is a song that is very visceral, raw and honest. The song itself speaks of someone who is willing to walk through the fire to feel all the pain, hurt and loneliness, no matter how bad it becomes, in the effort to move forward and heal all the brokenness inside.
The song is sonically and lyrically much stronger than the first single ‘Woman (Oh Mama)’ as well as being more representative of the album as whole. ‘Until the Levee’, produced by Charlie Peacock, Daniel James and Matt Morris, is the second single to be released from Joy Williams’ forthcoming album ‘ VENUS’ due out June 30th.
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