“Ellis Paul is one of Boston’s best-ever songwriting exports...” – The Boston Globe. The Day After Everything Changed, the 2010 album from singer- songwriter Ellis Paul, was released on Ellis’ label, Black Wolf Records. Since emerging from the Boston music scene, Paul’s music has been consistently recognized and celebrated worldwide. The new record reinforces this acclaim and is sure to cement his place as one of America’s most talented songwriters.
Recorded in Nashville, the 15-song album was produced by Thad Beaty and Jason Collum and features five songs co-written by Paul’s longtime friend and collaborator, Kristian Bush, founder of the Grammy Award winning band Sugarland. Several of the Sugarland musicians served as Ellis’ backing band for the recording. Throughout 2011, to keep the collaboration alive, Paul will continue to open numerous sold-out arena dates for Sugarland on the current Incredible Machine Tour.
“Ellis has a voice that is so powerful that you know who it is the second he comes through your radio. His music and songs are a new birth in American sound that makes me want to go see concerts again.” -Kristian Bush / Sugarland
“The Day After Everything Changed” is Paul’s first studio album in five years and his 16th release to date. The project was 100% funded by his loyal fan base. The songs on the record reflect Paul’s commitment to storytelling, exemplified in the title track “The Day After Everything Changed.” Described by Paul himself, the songs on the album are about people who are at a crossroads in their life. “I like songs to be cultural events, little ones, that somehow tell me what it feels like to be living here on this planet, in this country, at this time. I want to hear about people’s joys and woes and apply them to my own. You can’t fake real life stories. When you’re faking it --it’s obvious. As long as the writing feels real -- it works in any genre.”
Movie director Peter Farrelly, of the Farrelly Brothers, praises Ellis Paul as “a national treasure”. Ellis’ songs have appeared in the soundtracks for three Farrelly Bothers movies, “Me Myself & Irene” with Jim Carey, “Shallow Hal” with Jack Black and Gwyneth Paltrow, and in February 2011, the Farrelly Brothers latest project, "Hall Pass" starring Owen Wilson and Alyssa Milano will showcase up to 9 musical tracks off of Ellis' latest album The Day After Everything Changed as the score of this hit movie. This is Ellis’ third Hollywood blockbuster credit.
With “The Day After Everything Changed” we're struck more by the fact that Paul is still playing at the top of his game to such an extraordinary degree. It is, as always, the quality not the quantity but in this case we're rewarded with both. / Direct Current
Ellis celebrated his 20th anniversary of being a touring musician on July 2010 when the Mayor of Boston, Thomas Menino, declared July 9th 2010 “Ellis Paul Day” to honor one of Boston’s leading musical exports. Ellis will be anointing his 2 decades of song during his “20th Anniversary Tour” throughout 2011. Over the past two decades Paul has garnered numerous honors including 14 Boston Music Awards, second only to Aerosmith. He has performed with countless acclaimed musicians, including Patty Griffin, John Mayer, Ani Difranco, John Prine, Sugarland, and at the request of Woody’s daughter Nora Guthrie and after several trips to the Woody Guthrie archives, Ellis even has a co-write with Woody, their song “God’s Promise”.
Woody Guthrie’s daughter Nora says of Ellis, “A singer songwriter is only as good as the times he reflects. Wise, tender, brilliant and biting, Ellis is one of our best human compasses, marking in melodies and poems where we’ve been and where we might go if we so choose to. Personally Ellis, I’m goin’ where you’re goin’!”
Last at the Table
Ellis Paul Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I need a pint of philosophy.
I'm hurt and thirsty, set me on my way.
Mondays come and Mondays go,
But this one seems to be sort of slow.
Can you tell me sir, when will there come a change?
I'm the one who's last at the table,
You're the one who says I'm able,
But you turn your words with lies and fables...
Mothers won't you cry for me,
I'll sell your tears for a token fee
On a street corner where drunk patrons stand laughing.
And they'll stop, they'll stare at me,
Scratch at their heads, "How can this be?"
I'll say, "I was born like you, --
"Then I'll startin' dancin'...
Hello, Mr. Bureaucrat.
You pick who's thin -- you pick who's fat.
Now what makes you so fit for the shoes you walk in?
In an office space you get a taste
For paper money and paper waste.
Now who gets what depends on who is talking...
In "Last at the Table," Ellis Paul sings about being last in line and missing out on life's key moments. The song seems to reflect the experience of someone who feels excluded and marginalized, longing for the wisdom of an advisor or the comfort of a mother's embrace. The singer seeks validation from a faith leader, hoping for guidance and answers to profound questions about existence and change.
The first stanza of the song establishes a desperate need for guidance, asking for help from a preacher to confront a lethargic and disappointing Monday. The song's protagonist struggles to find his place in the world and demands answers from the people around him. The chorus echoes this sense of alienation, as the singer bemoans his status as the last person in line, and excluded from the rewards and opportunities of life.
The second verse shifts attention to the issue of social mobility and class. The singer addresses a bureaucrat, likely a symbol for the larger society he inhabits. The singer implores the bureaucrat to consider the arbitrary and unfair nature of his power in determining who succeeds or fails. The bureaucratic system is seen as inherently flawed and corrupted by greed and prejudice, leading the singer to question the legitimacy of those in power. These critiques underscore the sense of alienation and frustration conveyed throughout the song.
Line by Line Meaning
Preacher won't you preach to me,
Ellis Paul is in need of some guidance and intellectually stimulating conversation. He is looking for someone to give him a refreshing perspective on life.
I need a pint of philosophy.
Ellis Paul is seeking intellectual or philosophical stimulation/advice.
I'm hurt and thirsty, set me on my way.
Ellis Paul is telling the preacher he is struggling or suffering and needs help to get back on track.
Mondays come and Mondays go,
Monday is used as a symbol for time, meaning days continue to pass persistently.
But this one seems to be sort of slow.
The lyrics suggest that this particular day is rolling by sluggishly, as if time has slowed down for him.
Can you tell me sir, when will there come a change?
Ellis Paul is asking the preacher if they believe that there is hope for change to happen in his situation.
I'm the one who's last at the table,
Ellis Paul feels like he is being left out or left behind in life, and therefore feels like he is last.
I'm the one who never gets the gold.
Ellis Paul feels like he is never the one to achieve or gain anything significant that is worth mentioning or highlighting.
You're the one who says I'm able,
Ellis Paul is addressing the preacher, saying that the preacher tells him that he has been gifted with the ability to accomplish great things.
But you turn your words with lies and fables...
Despite the preacher's encouraging words, Ellis Paul feels as though the messages are insincere or may not have real-world applications to his life.
Mothers won't you cry for me,
Ellis Paul is reaching out to the mothers in the audience, asking for some sympathy from them
I'll sell your tears for a token fee
He also suggests that he can take their tears and use them for his own material gain (in his own way).
On a street corner where drunk patrons stand laughing.
Ellis Paul sets the scene for the street corner where he imagines selling mothers' tears. He suggests that those around him are drunk and not necessarily aware of what is going on.
And they'll stop, they'll stare at me,
He expects that the general audience may be surprised, shocked, and curious about what he is doing.
Scratch at their heads, 'How can this be?'
People are struggling to understand or make sense of his actions.
I'll say, 'I was born like you -- /Then I'll startin' dancin'...
To entertain and distract his audience, Ellis Paul suggests that he will dance to the tunes of the surroundings, despite his selling of mothers' tears.
Hello, Mr. Bureaucrat.
Ellis Paul is changing his audience from preachers and mothers to bureaucrats, asking them for an explanation of why they hold so much power and authority.
You pick who's thin -- you pick who's fat.
He suggests that bureaucrats decide which people will be successful or not, which can include choosing who will receive financial support (or not).
Now what makes you so fit for the shoes you walk in?
Ellis Paul is confronting the concept of fairness in decision-making and policy-making, suggesting that those in power aren't always fit to be in the positions they hold.
In an office space you get a taste /For paper money and paper waste.
Ellis Paul is criticizing bureaucrats for making decisions based on money and political influences, rather than on the spiritual or personal well-being of those who are directly impacted by such decisions.
Now who gets what depends on who is talking...
He suggests that any decision will be a result of powerful people and their influence and not necessarily what truly benefits people. Outcomes would depend upon the perspective of those who make the decisions.
Lyrics © BMG Rights Management, ELLIS PAUL PUBLISHING
Written by: ELLIS PAUL
Lyrics Licensed & Provided by LyricFind