Mumford & Sons
Mumford & Sons are an English folk band from London, formed in 2007. The band consists of Marcus Mumford (lead vocals, electric guitar, acoustic guitar, drums), Ben Lovett (vocals, keyboard, piano, synthesizer), Winston Marshall (vocals, electric guitar, banjo) and Ted Dwane (vocals, bass guitar, double bass). Mumford & Sons have released three studio albums: Sigh No More (2009), Babel (2012) and Wilder Mind (2015). Sigh No More peaked at number two on the UK Albums Chart and the Billboard 200 in the US, with Babel and Wilder Mind both debuting at number one in the UK and US, the former Read Full BioMumford & Sons are an English folk band from London, formed in 2007. The band consists of Marcus Mumford (lead vocals, electric guitar, acoustic guitar, drums), Ben Lovett (vocals, keyboard, piano, synthesizer), Winston Marshall (vocals, electric guitar, banjo) and Ted Dwane (vocals, bass guitar, double bass).
Mumford & Sons have released three studio albums: Sigh No More (2009), Babel (2012) and Wilder Mind (2015). Sigh No More peaked at number two on the UK Albums Chart and the Billboard 200 in the US, with Babel and Wilder Mind both debuting at number one in the UK and US, the former becoming the fastest-selling rock album of the decade and leading to a headline performance at Glastonbury Festival in 2013. The band has also issued two live albums: Live at Shepherd's Bush Empire (2011) and The Road to Red Rocks (2012).
Mumford & Sons were formed in December 2007 by multi-instrumentalists Marcus Mumford, Ben Lovett, Winston Marshall and Ted Dwane. Band members play acoustic guitar, drums, keyboard instruments, bass guitar, and traditional folk instruments such as banjo, mandolin and resonator guitar. The band name originates from the fact that Marcus Mumford was the most visible member, organizing the band and their performances. Lovett indicated that the name was meant to invoke the sense of an "antiquated family business name".
A handful of similar bands were increasing their visibility in West London around the same time, giving rise to the label "West London folk scene". Mumford downplays that characterisation as an exaggeration—Mumford & Sons and a few other folk acts just happened to be operating in the same general area at the time. In an interview with the Herald Sun, Marcus Mumford said, "It's not folk really. Well, some of it is, and it's certainly not a scene. Someone got over-excited about a few bands who live in a hundred-mile radius and put it in a box to sell it as a package. It's a community, not a scene. It's not exclusive." Having developed in the same musical and cultural environment, Mumford & Sons' sound has been compared to that of artists such as Noah and the Whale, Johnny Flynn and Laura Marling, whose backing band had included Marshall, Mumford, and Dwane.
In early 2008 the band began working with manager Adam Tudhope, who, as part of management company Everybody's, also represents Keane and Laura Marling. It was through Tudhope's connection that Mumford & Sons were exposed to their future A&R at Island, Louis Bloom, who began monitoring the band. Bloom told HitQuarters that they were still at a fledgling state and not yet ready for a label deal: "There was no one there for it, just a few friends, and they needed time to develop. Over the next six months I kept going to see them and they were literally picking up fans every time."
In February 2008, the band completed an extensive UK tour with support from Alessi's Ark, Sons of Noel and Adrian, Peggy Sue and others. June 2008 marked the band's first appearance at the Glastonbury Festival. They also toured Australia with Laura Marling, whose disinclination to interact with audiences encouraged Mumford into the spotlight. The experience helped inform his attitude towards Mumford & Sons audiences, which is to interact frequently and to try to create a comfortable, casual atmosphere. Mumford & Sons' first project was an EP entitled Love Your Ground which took a year to complete and was released in November 2008 on Chess Club Records.
The band began by using bluegrass and folk instrumentation, with the core instruments of acoustic guitar, banjo, piano and a double bass, played with a rhythmic style based in alternative rock and folk. In the documentary Big Easy Express, Marcus Mumford recognizes the Old Crow Medicine Show influence: "I first heard Old Crow’s music when I was, like, 16, 17, and that really got me into, like, folk music, bluegrass. I mean, I’d listened to a lot of Dylan, but I hadn’t really ventured into the country world so much. So Old Crow were the band that made me fall in love with country music." Mumford acknowledges that "the band inspired them to pick up the banjo and start their now famous country nights in London." Ketch Secor, Old Crow front-man, concurs: "Those boys took the message and ran with it.
Much of Mumford & Sons' lyrical content has a strong literary influence, its debut album name deriving from William Shakespeare's Much Ado About Nothing. The track "Sigh No More" includes lines from the play such as Serve God love me and mend, For man is a giddy thing, and One foot in sea and one on shore. The title of the song "Roll Away Your Stone" is an allusion to Macbeth; the song includes the line Stars hide your fires/ And these here are my desires which borrows and pares down Macbeth's line in act 1, scene 4: Stars, hide your fires,/ Let not light see my black and deep desires. Additionally, "The Cave" includes several references to The Odyssey, in particular the sirens that Odysseus encounters on his journey home. The song also contains many references to G.K. Chesterton's book, St. Francis of Assisi, in which Chesterton uses Plato's Cave as a way of explaining how St. Francis views the world from God's perspective. "Little Lion Man" appears to be a retelling in dramatic monologue form of Chretien de Troyes' Yvain, the Knight of the Lion, which is the story of a knight who goes mad after betraying a promise to his wife to return to her. Both "Timshel" and "Dust Bowl Dance" draw heavily from the John Steinbeck novels Of Mice and Men, East of Eden and The Grapes of Wrath.
The band's change in sound on their third album was described by Lovett as a "natural departure." At the end of the Babel tour Winston Marshall traded his banjo for electric guitar in sound checks and Mumford started playing more drums as the band jammed on heavy instrumentals and even some Radiohead tunes. Banjo does not feature on the record, an instrument that had become synonymous with the band. NME reported that the band's sound is "More expansive than ever and decidedly heavier, thanks to the shift in instrumentation." The group also employed a full drumkit instead of kick drum. "We've had our standard line-up of instruments for the last six years and we felt like that was our palette, we started picking up other stuff," said Lovett. "It's a very natural departure from some of that rootsier stuff."
Lovett told NME that working with James Ford for Wilder Mind was part of trying something new. "We felt a need for change. Not from Markus , but he was so closely attached to those first two records that as we had taken that time off, we wanted to try doing something new. It felt like, if we do our third record with Markus, does that mean we do our ninth and 10th records with Markus? At some point you have to try different things, as we collectively felt like it was time to try other stuff. Markus knows that we might well make the next record with him. We definitely haven't broken up , we're just playing the field!".
The band have won a number of music awards throughout their career, with Sigh No More earning the band the Brit Award for Best British Album in 2011 and six overall Grammy Award nominations. The live performance at the 2011 Grammy ceremony with Bob Dylan and The Avett Brothers led to a surge in popularity for the band in the US. The band received eight total Grammy nominations for Babel and won the Grammy Award for Album of the Year. The band also won the Brit Award for Best British Group in 2013.
Mumford & Sons have released three studio albums: Sigh No More (2009), Babel (2012) and Wilder Mind (2015). Sigh No More peaked at number two on the UK Albums Chart and the Billboard 200 in the US, with Babel and Wilder Mind both debuting at number one in the UK and US, the former becoming the fastest-selling rock album of the decade and leading to a headline performance at Glastonbury Festival in 2013. The band has also issued two live albums: Live at Shepherd's Bush Empire (2011) and The Road to Red Rocks (2012).
Mumford & Sons were formed in December 2007 by multi-instrumentalists Marcus Mumford, Ben Lovett, Winston Marshall and Ted Dwane. Band members play acoustic guitar, drums, keyboard instruments, bass guitar, and traditional folk instruments such as banjo, mandolin and resonator guitar. The band name originates from the fact that Marcus Mumford was the most visible member, organizing the band and their performances. Lovett indicated that the name was meant to invoke the sense of an "antiquated family business name".
A handful of similar bands were increasing their visibility in West London around the same time, giving rise to the label "West London folk scene". Mumford downplays that characterisation as an exaggeration—Mumford & Sons and a few other folk acts just happened to be operating in the same general area at the time. In an interview with the Herald Sun, Marcus Mumford said, "It's not folk really. Well, some of it is, and it's certainly not a scene. Someone got over-excited about a few bands who live in a hundred-mile radius and put it in a box to sell it as a package. It's a community, not a scene. It's not exclusive." Having developed in the same musical and cultural environment, Mumford & Sons' sound has been compared to that of artists such as Noah and the Whale, Johnny Flynn and Laura Marling, whose backing band had included Marshall, Mumford, and Dwane.
In early 2008 the band began working with manager Adam Tudhope, who, as part of management company Everybody's, also represents Keane and Laura Marling. It was through Tudhope's connection that Mumford & Sons were exposed to their future A&R at Island, Louis Bloom, who began monitoring the band. Bloom told HitQuarters that they were still at a fledgling state and not yet ready for a label deal: "There was no one there for it, just a few friends, and they needed time to develop. Over the next six months I kept going to see them and they were literally picking up fans every time."
In February 2008, the band completed an extensive UK tour with support from Alessi's Ark, Sons of Noel and Adrian, Peggy Sue and others. June 2008 marked the band's first appearance at the Glastonbury Festival. They also toured Australia with Laura Marling, whose disinclination to interact with audiences encouraged Mumford into the spotlight. The experience helped inform his attitude towards Mumford & Sons audiences, which is to interact frequently and to try to create a comfortable, casual atmosphere. Mumford & Sons' first project was an EP entitled Love Your Ground which took a year to complete and was released in November 2008 on Chess Club Records.
The band began by using bluegrass and folk instrumentation, with the core instruments of acoustic guitar, banjo, piano and a double bass, played with a rhythmic style based in alternative rock and folk. In the documentary Big Easy Express, Marcus Mumford recognizes the Old Crow Medicine Show influence: "I first heard Old Crow’s music when I was, like, 16, 17, and that really got me into, like, folk music, bluegrass. I mean, I’d listened to a lot of Dylan, but I hadn’t really ventured into the country world so much. So Old Crow were the band that made me fall in love with country music." Mumford acknowledges that "the band inspired them to pick up the banjo and start their now famous country nights in London." Ketch Secor, Old Crow front-man, concurs: "Those boys took the message and ran with it.
Much of Mumford & Sons' lyrical content has a strong literary influence, its debut album name deriving from William Shakespeare's Much Ado About Nothing. The track "Sigh No More" includes lines from the play such as Serve God love me and mend, For man is a giddy thing, and One foot in sea and one on shore. The title of the song "Roll Away Your Stone" is an allusion to Macbeth; the song includes the line Stars hide your fires/ And these here are my desires which borrows and pares down Macbeth's line in act 1, scene 4: Stars, hide your fires,/ Let not light see my black and deep desires. Additionally, "The Cave" includes several references to The Odyssey, in particular the sirens that Odysseus encounters on his journey home. The song also contains many references to G.K. Chesterton's book, St. Francis of Assisi, in which Chesterton uses Plato's Cave as a way of explaining how St. Francis views the world from God's perspective. "Little Lion Man" appears to be a retelling in dramatic monologue form of Chretien de Troyes' Yvain, the Knight of the Lion, which is the story of a knight who goes mad after betraying a promise to his wife to return to her. Both "Timshel" and "Dust Bowl Dance" draw heavily from the John Steinbeck novels Of Mice and Men, East of Eden and The Grapes of Wrath.
The band's change in sound on their third album was described by Lovett as a "natural departure." At the end of the Babel tour Winston Marshall traded his banjo for electric guitar in sound checks and Mumford started playing more drums as the band jammed on heavy instrumentals and even some Radiohead tunes. Banjo does not feature on the record, an instrument that had become synonymous with the band. NME reported that the band's sound is "More expansive than ever and decidedly heavier, thanks to the shift in instrumentation." The group also employed a full drumkit instead of kick drum. "We've had our standard line-up of instruments for the last six years and we felt like that was our palette, we started picking up other stuff," said Lovett. "It's a very natural departure from some of that rootsier stuff."
Lovett told NME that working with James Ford for Wilder Mind was part of trying something new. "We felt a need for change. Not from Markus , but he was so closely attached to those first two records that as we had taken that time off, we wanted to try doing something new. It felt like, if we do our third record with Markus, does that mean we do our ninth and 10th records with Markus? At some point you have to try different things, as we collectively felt like it was time to try other stuff. Markus knows that we might well make the next record with him. We definitely haven't broken up , we're just playing the field!".
The band have won a number of music awards throughout their career, with Sigh No More earning the band the Brit Award for Best British Album in 2011 and six overall Grammy Award nominations. The live performance at the 2011 Grammy ceremony with Bob Dylan and The Avett Brothers led to a surge in popularity for the band in the US. The band received eight total Grammy nominations for Babel and won the Grammy Award for Album of the Year. The band also won the Brit Award for Best British Group in 2013.
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Little Lion Man
Mumford & Sons Lyrics
Weep for yourself, my man
You'll never be what is in your heart
Weep little lion man
You're not as brave as you were at the start
Rate yourself and rake yourself
Take all the courage you have left
Wasted on fixing all the problems that you made in your own head
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
Tremble for yourself, my man
You know that you have seen this all before
Tremble little lion man
You'll never settle any of your scores
Your grace is wasted in your face
Your boldness stands alone among the wreck
Now learn from your mother or else spend your days biting your own neck
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
Lyrics © Universal Music Publishing Group
Written by: Benjamin Walter David Lovett, Edward James Milton Dwane, Marcus Oliver Johnstone Mumford, Winston Aubrey Aladar Marshall
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Ro Bahaa
Weep for yourself, my man,
You'll never be what is in your heart
Weep little lion man,
You're not as brave as you were at the start
Rate yourself and rake yourself,
Take all the courage you have left
Wasted on fixing all the problems that you made in your own head
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
Tremble for yourself, my man,
You know that you have seen this all before
Tremble little lion man,
You'll never settle any of your scores
Your grace is wasted in your face,
Your boldness stands alone among the wreck
Now learn from your mother or else spend your days biting your own neck
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
Neb
Weep for yourself, my man,
You'll never be what is in your heart
Weep, little lion man,
You're not as brave as you were at the start
Rate yourself and rake yourself
Take all the courage you have left
And waste it on fixing all the problems that you made in your own head
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my...
Tremble for yourself, my man,
You know that you have seen this all before
Tremble, little lion man,
You'll never settle any of your scores
Your grace is wasted in your face,
Your boldness stands alone among the wreck
Now learn from your mother or else spend your days biting your own neck
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
[harmonizing]
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
But it was not your fault but mine
And it was your heart on the line
I really fucked it up this time
Didn't I, my dear?
Didn't I, my dear?
QueenMuser
Now that I look better at the lyrics, the song describes PERFECTLY how I broke up with my ex. We were in a 3-year-long distance relationship, he was in the US and me at the time in Italy.
The first of the problems is that we were never able to meet.
The second was that at certain points we used to quarrel over certain meaningless, not real life related things, and that annoyed me so much.
Third, since he moved from Michigan to Arizona and I moved from Italy back to my home country, Serbia, we felt even more distant from each other.
Fourth, he really fucked it at new year 2019. In 2018 he lost his father and four of his uncles and aunts, plus his original Facebook account being deleted for a bullshit (he used his fb accout as a cloud storage of videos, pics and even audio files because he never had a pc).
We used to celebrate new year together in both our time zones, starting from mine and six hours later going with his...
But just because 2018 was so messed for him, he didn't have any hope for 2019, whereas I tried to convince him that it's becaused he was crushed down during 2018 and I was there for him that he should have hoped for a better 2019.
But no.
While I was celebrating my new year with my family, I video-called him but instead with celebrating with ME at least, he was absorbed into Skyrim in his own limbo.
I couldn't just help him any more. And after the break-up, he even blamed me for abandoning him while it was just him not wanting help at all, despite me trying to be close to him after all his losses...
But after a full year without him I moved on, and my current relationship is still a distance relationship, but with the difference that we already met twice in real life, and he was basically in love with me for two years before actually confessing his feelings for me (we knew each other for four years while I was streaming League of Legends).
Now it's just the ban on international travels keeping us apart, we're just 650 kms away but I'm confident that I'll be able to hug him again (and there comes another song from M&S, I will wait. THAT one instead was playing on the radio half an hour before my return bus to Serbia arrived so that's a sign of destiny)
LionTroy
This song saved my life.
I left the love of my life because I didn't think I was enough for her. I left her in another country. I came back... absolutely nothing for me here. I sat in the city, no food or money, just waiting to die.
A few days passed and this this song came on. A construction crew just a door down had this playing.
I cried. Cried unlike I ever have or would again. It reached me like no song ever could.
I got up. I came home. I could move on.
Thank you. I think you saved my life.
Kurt H
8 years without my little brother. We played this at his funeral. His son has loved this song his whole life.
Cipher
Luv u bro
recoilpickle
I'm Soo sorry for your loss
Ayo amusan
I'm so sorry for your loss all the best in future
Blah blah blah
I’m so sorry💔 he’s in a better place now
Kurt H
@Dan Barton his service with over 600 people was only the beginning. There was a few parties with high attendance and a few months later an 80 mile motorcycle ride with about 250 bikes.
Rachel
I will never forget the first time I heard this song, I was getting into my truck after being told by doctors that I had miscarried, the radio turned on and the first thing I heard was "It's not your fault but mine...It was your heart on the line"...every time I hear this song I think of my sweet angel baby, and I wish I could know her.
Rydz
Liar.
Ayo amusan
I'm so sorry dear
Jeanne Hamm
Bless you , hope all is well.