Guitar at age seven, banjo at thirteen, pedal steel at sixteen - the young Dodd's hands nearly always gripped a stringed instrument. His father, a master electrician, perfected his skills with quality and high standards that were instilled in Dodd as a young man. As a teen, he was a laborer for a brick mason, a job which built a strong back as well as character. While attending college in Lubbock and Waco, Dodd spent much time honing his musical chops on the side, as the music became his vocation. Cutting his teeth in local honky tonks as a musician and vocalist, Deryl soon became the front man for a Waco band. His enthusiasm and natural connection with the audience regularly drew crowds of up to a thousand.
Moving to Nashville in 1991 accelerated Dodd's pace. Quickly hired as a lead guitarist and high harmony singer for Martina McBride, Deryl found himself rocketed from smoky clubs to giant stadiums when McBride opened for Garth Brooks (little did he know that in the near future, he himself would be opening for Brooks). As he refined his skills on the six-string, he also kept busy songwriting, working with the likes of John Hiatt, Kevin Welch and Radney Foster. Next came a 1993 publishing deal with BMG Music resulting in other artists recording his songs, including rewarding cuts on two of Tim McGraw's multi-platinum albums. In 1994, Deryl joined up with Tracy Lawrence's band to play rhythm guitar and harmony vocals. He was becoming well sought after by many artists, especially now finding himself in the studio recording background vocals with the likes of McBride, Lawrence and Foster. However, Dodd had plans to make his own music, and did.
In 1995, he landed a recording contract with Columbia Records. The 1996 release of his first album, "One Ride in Vegas," which spawned the hit single "That's How I Got to Memphis," written by legendary storyteller Tom T. Hall, brought critical acclaim, national tours, and the applause of newfound fans. A serious contender had arrived. Comprised of up-tempo rockers, gorgeous ballads, bluesy shuffles and stories in song, the 1998 follow up album, "Deryl Dodd," built on the strengths of the native Texan's debut. Critics from trade publications to "USA Today" hailed the newcomer a fresh voice straight out of traditional country. "They called me a throwback," Deryl says, "and I'd joke that it meant they could throw me back if they didnt like me. But I am country, it's how I walk and talk. When I go back to my family's farm in Comanche, Texas, I know that's where my soul feels at home."
Tragically in February 1999, after a grueling schedule promoting the successful single "A Bitter End," Deryl developed viral encephalitis, a life-threatening illness which attacks the central nervous system. Following six months of frustrating immobility, Deryl spent another year and a half rehabilitating in his struggle to return to his life and his music.
What began as a devastating experience has given the singer/songwriter a new appreciation for the blessings each day has to offer. After a long recovery he is gratefully on the road and touring again with his band the Homesick Cowboys - his first invitation being the opening slot for the explosive Tim McGraw and Faith Hill Soul 2 Soul tour. Back in the studio in 2001 for his third album, Deryl moved from Columbia records to Sony's independent label Lucky Dog, where he had more creative freedom. He received much criticism from the industry, fearing it would appear as a demotion. But making his music is all he has ever been about, regardless of the perception. The 2002 release of "Pearl Snaps" was again critically acclaimed as his first two singles, "Pearl Snaps" and "Honky Tonk Champagne," reached the 1 spot on the Texas music chart.
Sundown
Deryl Dodd Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In a room where ya do what ya don't confess
Sundown ya better take care
If I find you been creepin' round my back stairs
Sundown ya better take care
If I find you been creepin' round my back stairs
She's been lookin' like a queen in a sailors dream
Sometimes I think it's a shame
When I get feelin' better when I'm feelin' no pain
Sometimes I think it's a shame
When I get feelin' better when I'm feelin' no pain
I can picture every move that a man could make
Gettin' lost in her lovin' is your first mistake
Sundown ya better take care
If I find you been creepin' round my back stairs
Sometimes I think it's a sin
When I feel like I'm winnin' when I'm losin' again
I can see her lookin' fast in her faded jeans
She's a hard lovin' woman, got me feelin' mean
Sometimes I think it's a shame
When I get feelin' better when I'm feelin' no pain
Sundown ya better take care
If I find you been creepin' round my back stairs
Sundown ya better take care
If I find you been creepin' round my back stairs
Sometimes I think it's a sin
When I feel like I'm winnin' when I'm losin' again
Deryl Dodd's song "Sundown" captures the essence of a man's mistrust towards his woman. The lyrics paint a vivid picture of a woman lying on a satin bed in a place where secrets are kept. The use of "room where you do what you don't confess" suggests a hidden affair between the woman and another man. He warns that "Sundown, you better take care if I find you been creeping around my back stairs." The phrase "Sundown" carries with it a sense of foreboding or impending danger.
The second verse describes the woman's allure, often making the man feel better when he's feeling no pain. He feels that sometimes it's a shame that he can't resist her, knowing that he's headed for disaster. The third verse hints at a past where he may have lost himself in her love, taking it as a warning for anyone else who might fall into the same trap. The last verse brings out the aggressive side of the man, blaming the woman for making him feel mean. The repetitions of the phrase "Sundown, you better take care" act like a warning to anyone who gets too close to the woman.
Line by Line Meaning
I can see her lyin' back in her satin dress
The singer can envision the woman lying down in an elegant garment.
In a room where ya do what ya don't confess
The setting for their encounter is a place where secrets are kept and not shared.
Sundown ya better take care
The singer warns of possible danger as the night progresses.
If I find you been creepin' round my back stairs
The singer is suspicious of someone sneaking around the area where he lives.
She's been lookin' like a queen in a sailors dream
The woman appears to be striking and attractive like royalty in a sailor's daydream.
And she don't always say what she really means
Her words may not always match her true feelings or intentions.
Sometimes I think it's a shame
The singer feels regret or sorrow about something.
When I get feelin' better when I'm feelin' no pain
The singer may turn to unhealthy ways of coping with his emotions but feels good in the moment.
I can picture every move that a man could make
The artist can imagine all possible actions a man might take in the woman's presence.
Gettin' lost in her lovin' is your first mistake
Becoming too involved with the woman might lead to trouble or heartache.
Sometimes I think it's a sin
The singer has feelings of guilt or wrongdoing.
When I feel like I'm winnin' when I'm losin' again
The artist may feel like he's succeeding, but he's actually losing in some way.
I can see her lookin' fast in her faded jeans
The woman wears casual attire and the singer can visualize her moving quickly.
She's a hard lovin' woman, got me feelin' mean
The woman has a tough personality and the singer feels irritable or frustrated around her.
Sundown ya better take care
The singer continues to warn of potential danger as the night progresses.
Sometimes I think it's a shame
The artist continues to feel regret or sorrow about something.
If I find you been creepin' round my back stairs
The singer reiterates his suspicion of someone sneaking around the area where he lives.
Sundown ya better take care
The singer repeats his warning of possible danger in the night.
If I find you been creepin' round my back stairs
The singer repeats his suspicion of someone sneaking around the area where he lives.
Sometimes I think it's a sin
The artist repeats his feelings of guilt or wrongdoing.
When I feel like I'm winnin' when I'm losin' again
The artist repeats his feeling of success masking deeper issues or losses.
Contributed by Jayden I. Suggest a correction in the comments below.