By Tony Attwood
In my previous article I wrote about “Don’t let me be misunderstood” but restricted my commentary because of technical problems. Fingers crossed (which of course makes typing more difficult). Here is the Nina Simone version which I didn’t include then. You can read the full article via the link above. The Joe Cocker version is available as below
The writing of the song is adventurous but not unique.
Baby, you understand me now If sometimes you see that I'm mad Don't you know, no one alive can always be an angel? When everything goes wrong, you see some bad [Chorus] But I'm just a soul whose intentions are good Oh, Lord, please don't let me be misunderstood [Verse 2] You know, sometimes, baby, I'm so carefree With a joy that's hard to hide And then sometimes again, it seems, that all I have is worry And then you're bound to see my other side [Chorus] But I'm just a soul whose intentions are good Oh, Lord, please don't let me be misunderstood [Bridge] If I seem edgy, I want you to know, I never mean to take it out on you Life has its problems, and I get more than my share But that's one thing I'd never mean to do, 'cause I love you
What makes the song immediately catch the ear is the very unusual chord sequence – and I don’t think one needs to know how to play a musical instrument to feel that something different is happening with this song from the start.
Indeed it is quite possible to hear that there is something unusual gong on with the guitar as the song seems to descend at the start – exactly as the emotions that are described in the song are also descending. In fact that opening four chords are B minor, A, G, F-sharp, which leaves us uncertain of where we are musically.
And what is so clever, in my view, is that the lyrics work in the same way – lyrics and music both adding to a feeling of uncertainty…..
Bm A Baby, do you understand me now G F# Sometimes I feel a little mad
Of course the song is also helped enormously by the lyrics – a multiplicity of teenagers surely have felt the emotions expressed in the title of this song. Of course things might have changed as my own daughters are now very grown up and have their own children, but I suspect in their youth they were wishing that I could understand them better (and my plea of “I’m only trying to stop you getting hurt,” didn’t really help much
But it is a great melody, the chord sequence works but is very unusual and it has a message that surely appeals across the generations. A song therefore that very much should have a place in the Philosophy of Modern Song.