Early Morning Rain Lyrics - Kingston Trio

Review The Song (1)



Gordon Lightfoot

Chorus:
In the early morning rain with a dollar in my hand, with an achin' in my heart and my pockets full of sand.
I'm a long way from home and I miss my darlin' so. In the early mornin' rain, with no place to go.

Out on runway number nine, big seven-o-seven set to go but I'm stuck here on the grass where them cold winds blow.
Yeah, the liquor tasted good and the women all were fast. Ah, but there she goes, my friend, though she's rollin' out at last.

Hear the mighty engines roar. See the silver wing on high. She's a-wingin' westward bound. High above the clouds she'll fly
Where the morning rains don't fall and the sun always shines. She'll be flyin' o'er my home in about three hours time.

This old airport's got me down. It's no earthly good to me 'cause I'm stuck here on the ground cold and drunk as I can be.
You can't jump a jet plane like you can a freight train. So, I best be on my way in the early mornin' rain.









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Timeless tear jerker | Reviewer: Johnny Fondlebottom | 11/29/2007

This 1963 composition by Canadian folkie Gordon Lightfoot ("Sundown", "Wreck of the Edmund Fitzgerald")has been covered countless times since because it never fails to find a consistent resonance with contemporary audiences of all ages.
Bullet pointing the age old theme of separation anxiety, Lightfoot doesn't break new emotional ground, but rather modifies the dialactics by replacing the trading posts and railway depots that served as parting points of songs past with the more modern amemnity of the airport. This is a masterstroke, for it not only serves to update the theme for which a modern audience to better relate, it contributes an entirely new dimension to work with. In addition to the set of "here" and "there", Lightfoot's innovation gives us the dilactics of "up" and "down", which in this case are emblematic of social hierachicial status as well.
This reading from The Kingston Trio's 1965 release "Stay Awhile" is doleful enough, although lacking the stark, almost unbearable pathos of Peter Paul and Mary's version of that same year. The latter rendition flows like tears in an unbroken two-four pattern, while by contrast the Trio imparts to the song a mild trace of a country bounce, a sort of relief from PP&M's unmitigated melancholia. But the fact remains; a great song is always a great song.





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