It was after relocating to New York City in the early '90s (to study at N.Y.U.'s film school) that Osborne began to take a singing career seriously after singing Billie Holiday's classic "God Bless the Child" at a local bar's "open mic night." In addition to Holiday, Osborne looked to such legendary vocalists as Etta James and Ray Charles as role models, as the up-and-coming singer decided not to cater to major record companies and formed her own label, Womanly Hips, which resulted in such releases as 1992's in-concert Soul Show, among others. But eventually, Osborne decided to sign on with a major label, Mercury, which in turn issued the singer's next release, 'Relish,' in March 1995. The album eventually racked up sales of three million copies and proved to have a long life, as almost a year after its initial release the track "One of Us" became a massive MTV and radio smash, camping out at the number-one spot on the U.S. singles chart for 2 weeks. Other tracks ("Right Hand Man" and "St. Teresa") failed to match the success of Osborne's first hit, but the singer still managed to connect with a large and appreciative audience, especially while touring as part of the 1997 edition of Sarah McLachlan's Lilith Fair tour. Osborne received numerous Grammy nominations in both 1996 and 1997.
Producing a worthy followup to Relish proved to be a time-consuming challenge for Osborne. Mercury tried to buy her some time by issuing a compilation release, 'Early Recordings' (which collected the early releases 'Live at Delta '88' and 'Blue Million Miles'). In the meantime, Osborne focused on supporting a few groups/causes she felt strongly about, such as Rock the Vote and Planned Parenthood (eventually being named an honorary member of Planned Parenthood's Board of Advocates), besides covering "I'm Just a Bill" as a duet with Isaac Hayes on the 1998 'Schoolhouse Rocks the Vote' benefit album. Osborne also studied briefly with the late Qawwali master Nusrat Fateh Ali Khan and performed alongside such notables as Stevie Wonder, Melissa Etheridge, Taj Mahal, Luciano Pavarotti, Spearhead, Bob Dylan, and the Chieftains.
September 2000 finally saw the release of Osborne's second all-new studio album, titled 'Righteous Love'; but it failed to match its predecessor's commercial success and sank from sight shortly after its release. In 2002, Osborne bounced back with 'How Sweet It Is,' a collection of covers that leaned heavily on classic soul and R&B tunes from the 1960s and '70s. A career retrospective, 'One of Us,' came out in 2005.
Osborne played a prominent role in the 2002 film "Standing in the Shadows of Motown," performing with the legendary Motown house band the Funk Brothers in a concert performance segment, and appearing with several members of the group in an interview segment. She and her band accompanied the Dixie Chicks for a national tour in the summer of 2003, during which time she also joined veteran San Francisco jam-rockers the Dead as a vocalist, and released her fourth album, titled 'How Sweet It Is,' a collection of classic rock and soul covers.
During 2005 and 2006, she performed on numerous occasions with Phil Lesh and Friends. In February 2007, she appeared at the Grand Ole Opry.
In November 2006, Osborne released 'Pretty Little Stranger,' her self-described "Nashville album."
In May 2007, Osborne issued 'Breakfast in Bed,' a return to the soul music that she had covered on 'How Sweet It Is'. 'Breakfast in Bed' also featured the two songs ("Heatwave" and "What Becomes of the Brokenhearted") that she had covered for the film Standing in the Shadows of Motown.
She sings lead vocals on the cover of "Spoonful" on Vivian Campbell's solo album 'Two Sides Of If'.' Osborne also provided some vocals for "Wayfaring Stranger" on Spearhead's 1997 album 'Chocolate Supa Highway.' Joan is featured on The Holmes Brothers 2007 collection 'State of Grace' performing "Those Memories of You," an old Allan O'Bryant and Bill Monroe bluegrass tune.
Her album Bring It On Home was released on March 27, 2012. It is a collection of vintage blues and soul covers, and it received a 2013 Grammy Awards nomination for Best Blues Album.
Osborne was a member of Trigger Hippy from 2012 to 2018.
Osborne released the original album Love and Hate in 2014, and in 2017 the album Songs of Bob Dylan. A new album of original songs, Trouble and Strife, is due in September 2020.
Cathedrals
Joan Osborne Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Of tall buildings
Of fallen angels
On the ceilings
Oily feathers
And bronzen concrete
Faded colors
Pieces left incomplete
Past the electric fence
Across the borders
Between continents
In the Cathedrals
Of New York and Rome
There is a feeling
That you should just go Home
And spend the lifetime
Finding out just where that is
In the shadows
Of tall buildings
The architecture
Is slowly peeling
Marble statues
And glass dividers
Someone is watching
All of the outsiders
The line moves slowly
Through the numbered gate
Past the mosaic
Of the Head of State
In the Cathedrals
Of New York and Rome
There is a feeling
That you should just go Home
And spend the lifetime
Finding out just where that is
In the shadows
Of tall buildings
Of open arches
And lessly knealing
Sonic landscapes
Echoing vistas
Someone is listening
From a safe distance
The line moves slowly
Into the fading light
A final moment
In the dead of night
In the Cathedrals
Of New York and Rome
There is a feeling
That you should just go Home
And spend the lifetime
Finding out just where that is
In the Cathedrals
Of New York and Rome
There is a feeling
That you should just go Home
And spend the lifetime
Finding out just where that is
In Joan Osborne's song "Cathedrals," the lyrics transport the listener to the shadows of tall buildings where there are unfulfilled promises and incomplete visions. The references to New York and Rome provide insight into the grandeur that these two cities represent. There is a feeling of detachment and indifference within the architecture of the buildings. It is as if the buildings have lost their meaning and essence, and all that remains are the memories of the people who once roamed through their corridors. Osborne's vivid imagery of "oily feathers and bronzen concrete" and "marble statues and glass dividers" create a sense of nostalgia and sadness.
As the line moves slowly through the numbered gate, the mosaic of the Head of State serves as a reminder of power and control. The feeling of displacement and unfamiliarity emphasizes the notion that the cathedrals are not meant for everyone. The concept of being an outsider prevails, and the listener can feel the tension between looking in and being excluded. The lyrics suggest a search for home but also imply that the quest for belonging is never-ending.
The song highlights the melancholic essence of city life, and the idea that amongst the grandeur of cities like New York and Rome, people still feel lost and disconnected. The mood shifts from despair to one of hope in the final stanza, as the listener is invited to find their way home by spending a lifetime discovering where that is.
Line by Line Meaning
In the shadows
In the obscured areas
Of tall buildings
Next to towering structures
Of fallen angels
Where the defeated reside
On the ceilings
Above one's head
Oily feathers
Feathers soiled with grease
And bronzen concrete
Bronze-colored concrete
Faded colors
Colors dulled by time
Pieces left incomplete
Parts unfinished
The light moves slowly
Illumination travels languidly
Past the electric fence
Beyond the wired barricade
Across the borders
Over transnational lines
Between continents
Amongst the world's land masses
In the Cathedrals
Within grand holy structures
Of New York and Rome
Located in those two cities
There is a feeling
Emotions arise
That you should just go Home
The sensation that you must return to where you belong
And spend the lifetime
Devote existence
Finding out just where that is
To ascertain where you belong
The architecture
The design
Is slowly peeling
Gradually wearing away
Marble statues
Stone sculptures
And glass dividers
Partitions made of glass
Someone is watching
Individuals are observing
All of the outsiders
All of those excluded
The line moves slowly
The queue progresses sluggishly
Through the numbered gate
Past the entrance marked with digits
Past the mosaic
Beyond the art made of small pieces
Of the Head of State
Depicting the leader of a country
Of open arches
Of exposed archways
And lessly knealing
Prostrating feebly
Sonic landscapes
Audio environments
Echoing vistas
Reflections of scenes
Someone is listening
Individuals are hearing
From a safe distance
At a secure remove
The line moves slowly
The queue progresses at a sluggish pace
Into the fading light
Toward the vanishing illumination
A final moment
The last instance
In the dead of night
During the stillness of the evening
Lyrics © Warner Chappell Music, Inc.
Written by: BRUSH, CHRISTOPHER, MOOS, JEFFREY, OSBORNE, CLARENCE, CHRISTOPHER BRUSH, CLARENCE OSBORNE, DANIEL ELLIOT, JEFFREY MOOS, JUDD RIZZO, MIKE EVANS
Lyrics Licensed & Provided by LyricFind
Viktor Wyatt
I'm not sure which brought tears to my eyes more, the lyrics used, the instruments played or her sublime voice, in any event it touched my soul to it's core ❤️
michaelwilliam
This is a brilliant version. Joan can do no wrong. Vocally Stunning as usual.
Keith Finkel
Joan's voice has a direct line to my soul
michaelwilliam
I just saw her last night in Chicago...she was amazing. She dueted on this song with her opening act Matt Morris. It was beyond words. Thanks Joan for sharing your talent with the world.
QueenQuill
Such a beautiful song! I'm really glad to hear more of Joan Osborne...she's so very talented.
Dorothea Carters
Saw her last night at the Highline Ballroom in NYC - when she sang this song, the heavens opened and her voice touched God. Absolutely amazing, a gift from God.
Lee Bohlen
This is a beautiful version of a wonderful song. Joan is such an amazing singer, really gives me chills. I like both versions and it's sad that some of you are stuck with one way of feeling. Too bad, there's a million ways to interpret the world around you. Just let it be.
consuelo.parra.v
MORE JOAN!!!!!!! She has a voice that melts hearts.
Ronald Elardo
I like how she sings this.I was always a big fan of hers.
michaelwilliam
I love this version...her voice lends so well to the lyrics. Her vocal/songwriting talent cannot be denied...she is one of the greats.