I just can’t take this hurt and pain from you I gotta sit right down and think about starting anew I just can’t take this hurt and pain from you I gotta stop this moaning and groaning and feeling bad, too Once it was good times Rolling all night long Now’s it’s all bad times I just get mad and sad and feeling all wrong I just can’t take this hurt and pain from you I gotta sit right down and think about starting anew I just can’t take this hurt and pain from you I sit right down and think about starting anew Let me be Set me free Let me go Now I know It’s the end We’ll be friends Hear me sigh It’s goodbye Repeat second verse Jim Pembroke 1967 Artist: Blues Section Line-up: Jim Pembroke, vocal and harmony vocal Hasse Walli, guitar Måns Groundstroem, bass Ronnie Österberg, drums, bongos Otto Donner, string arrangement (probably) Release: From the album BLUES SECTION, Love Records LRLP 3, 1967 Studio: Finnvox Producer: Atte Blom, Otto Donner Engineer: Erkki Hyvönen
General comment: This is the fifth track on Blues Section’s one and only ‘real’ LP. For more general comment see ‘Only Dreaming’.
The Music: Good delivery of this fine composition by Hasse Walli, with lots of variety and even a string arrangement. Shows the true potential of this group, who were at their best when they weren’t rocking or trying to be an over energetic blues band. Since Pembroke didn’t write the music here it falls outside the scope of this project and I won’t go into it much further, but I’ve said a few critical things about Walli’s contribution to other Blues Section recordings so it’s only fair to point out that he gets everything right on this one. The only problem is the key, which is slightly too high for Pembroke’s range.
The lyric: Pembroke’s song catalogue is full of songs about ‘love gone wrong’. Later on they became more sad and mournful, while these early songs mainly describe how the narrator has been wronged. Often we get the feeling that some very serious arguments have gone on, and if linguistic problems have been involved they could well have added to the frustration on both sides. The lyrics are never that precise, but we get the drift. Otherwise the interesting thing here is the changes in the metre, reflecting the narrator’s ambivalent moods, excellently mirrored in the music. The words flow and are very musical, and the brilliant use of the little word ‘too’ at the end of line four predicts one of Pembroke’s standard features later on. Still, there is a considerable amount of re-cycling throughout the song, giving the impression that Pembroke has more-or-less said all he needs to say with the very first verse.
-- Claes Johansen with thanks to Nic Stayt, 2007