#Poor poor pitiful me warren zevon mac

Warren Zevon (vocals, guitar, harmonica, keyboards) Greg Beck (guitar) Karen Childs (keyboards, flute) Jennifer Condos (bass) Ian Wallace (drums) (2nd Generation) Transfer. Poor poor pitiful me poor poor pitful me these young girls wont let me be lord have mercy on me woe is me Whoo Poor poor pitiful me poor poor pitiful me these young girls wont let me be lord have mercy on me woe, is me Well o met a girl at the rainbow bar she asked me if id beat her and she took me back to the hyatt house i dont wanna talk.

Typical of Zevon's songwriting, this is a pretty crude and risqu song. In the '70s, Ronstadt had several hits originally recorded by other artists. It became a hit when Linda Ronstadt covered it the next year. Versions - Different performances of the song by the same artist. Written and originally recorded by Warren Zevon, this first appeared on his self-titled album in 1976. In Zevon's original recording, the song's final verse was a mildly disturbing fragment, in which he murmured 'I met a girl at the Rainbow Bar/She asked me if I'd beat her/She took me back to the Hyatt House/.I don't want to talk about it.' By the time Linda Ronstadt recorded it in 1977 (on her album Simple Dreams), with an appropriate gender switch, the masochist has been replaced by an avid young man from Yokohama the sexually rapacious Asian was changed back to a woman but otherwise remained when Zevon himself revisited the song for his wild and woolly 1980 live album Stand in the Fire, and she was still there when he recorded it a third time on his solo acoustic live set, 1993's Learning to Flinch. 18 Poor Poor Pitiful Me Related Music question-dark. The song's verses sound as if Zevon is bragging and complaining at the same time while he discusses a taxing assignation with a woman from West Hollywood, and the chorus, in which he announces 'These young girls won't let me be/Lord have mercy on me,' is an example of self-pity that's mutated into self-parody - no one could be expected to feel bad for this guy, and Zevon sounds like he's having too much fun (and rocking too hard) to make the notion stick anyway.

For most people, the inability to commit suicide would be regarded as a stroke of good luck, but instead Zevon opens his song by informing the listener that 'I'd lay my head on the railroad track/Waiting for the Double E/But the railroad don't run no more/Poor poor pitiful me.' The source of Zevon's misery, of course, is women, but not their absence or the one that got away - Zevon is troubled by the fact that the ladies simply won't leave him alone. Poor, Poor, Pitiful Me Lyrics Verse 1 I lay my head on the railroad tracks And wait for the Double 'E' The railroad don't run no more Poor, poor pitiful me Chorus Poor, poor pitiful me Poor.

This Collector’s Edition features 15 previously unreleased tracks, including either demos, live cuts or alternate takes of every song from the debut, including both a festive 1974 demo of “Carmelita” and a slimmer alternate version, an intimate take of “Hasten Down the Wind,” and solo piano demos of “Mohammed’s Radio,” “Frank and Jesse James,” and “The French Inhaler” that confirm Zevon’s greatness even without his famous supportive friends.Warren Zevon's best work often speaks with the voice of an arrogance so strong it spills over into something resembling charm, and one of the best examples is 'Poor Poor Pitiful Me,' which he first recorded on his self-titled 1976 album. Poor, poor pitiful me Poor, poor pitiful me Poor, poor pitiful me These young girls wont let me be Lord have mercy on me Woe is me Well, I met a girl in West Hollywood I aint naming names She really worked me over good She was just like Jesse James She really worked me over good She was a credit to her gender She put me through some changes.

#Poor poor pitiful me warren zevon mac

Produced by Jackson Browne and featuring an A-list of Los Angeles studio pros, from Waddy Wachtel and David Lindley to members of Fleetwood Mac and the Eagles, Zevon’s album twisted the accepted wisdoms of self-confession and narcissistic complacency and found a false braggart in “Poor Poor Pitiful Me,” a hard living fatalist in “I’ll Sleep When I’m Dead,” a resigned junkie for “Carmelita” and even a sentimental poet in “Hasten Down the Wind.” His novelistic intensity was balanced with a pure shot of even-handed rock n’ roll that would take on even greater life in concert. Warren Zevon’s self-titled 1976 Asylum Records debut took singer-songwriting into darker, tougher terrain.