Mark Heard released 13 studio albums in his lifetime (as Mark Heard & Ideola) also 1 album with Infinity Plus Three), and produced and performed with many other artists as well, such as Daniel Amos, Sam Phillips, Pierce Pettis, Phil Keaggy, Vigilantes of Love, Peter Buck of R.E.M., John Austin, The Choir, Randy Stonehill and Michael Been of The Call. Heard produced part of Olivia Newton John's The Rumour, which also included a cover of Heard's "Big and Strong".
On July 4, 1992, Heard suffered a heart attack on stage while performing with Pierce Pettis and Kate Miner, at the Cornerstone Festival, near Chicago, Illinois. Heard finished his set and went to the hospital immediately afterwards. Two weeks after being released from the hospital, Heard had a cardiac arrest and died in August of 1992. Sadly, this happened at a time when Heard's musical career never looked brighter. Not only had he just released three albums (Dry Bones Dance in 1990, Second Hand in 1991, and Satellite Sky in 1992) that many hailed as his best work to date, but he had also just been included on a sampler from Windham Hill's High Street label.
Heard's early work was often marked by strong, poetic lyrics; but musically he lingered in a generic folk/folk-rock style. But Heard continued to experiment musically; his most extreme was perhaps the elaborately-produced electronic rock on the album Tribal Opera, which he released under the name iDEoLA. With Dry Bones Dance, however, Heard's music blossomed into an intense folk-rock fusion, marked by driving rhythms, virtuosic instrumentals, passionate vocals, and interwoven elements borrowed from styles such as Appalachian folk, zydeco, bluegrass, and country (though Heard's music is none of those). Second Hand returned to a more acoustic guitar-based folk sound, but retained the energy and creativity discovered through Dry Bones Dance. His final official album, Satellite Sky, was again more like the latter.
Mark Heard's lyrics are deeply grounded in a Christian view of the world, though explicitly so only half the time. He was often critical and had an eye for emotional pain and spiritual desolation, yet he remarkably avoided cynicism. When his lyrics turned to expressing hope or joy, they were powerful. As a poetic lyricist, Heard cultivated verbal sound (e.g. with internal rhyme), strong images and elaborate personae, while avoiding the cheap punch-line metaphors popular in much contemporary folk music. Some of his images, most notably "bones," can be found repeated and richly varied in their meaning across years of songwriting.
In 1994, many artists came together to record a tribute album called Strong Hand of Love. Artists lending their talents to the project included Victoria Williams, Chagall Guevara, Buddy Miller, Julie Miller, Daniel Amos, The Choir, Rich Mullins, Bruce Cockburn, and the Vigilantes of Love. The project was later reissued as a 2 CD set with additional tracks and retitled Orphans of God.
I Always Do
Mark Heard Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
One glance I realize I've got no words
But if you'd listen to me, if you'd listen to me
If you'd listen you might hear me
Fencing with the windmills of my deepest fears
Jousting with this armor that I've riveted on
And if I'd listen to you, if I'd listen to you
If I'd listen I'd be a bit softer than stone
I NEVER MEAN TO MENTION THINGS LIKE THAT
BUT I ALWAYS DO
IT'S NOT LIKE ME TO TIP MY HAND
BUT I ALWAYS DO
I NEVER MEAN TO FACE THIS LOOKING-GLASS
BUT I ALWAYS DO
WHEN I FACE YOU I ALWAYS DO
I hit the floor suggest we move our feet
Good mood seems painted on our fleeting best
But if you'd listen to me, if you'd listen to me
If you'd listen you might hear me
Blowing on a flute carved of hollow bone
Some somber tune that seems to suit my taste
And if I'd listen to you, if I'd listen to you
If I'd listen I'd have fewer lines on my face
The song "I Always Do" by Mark Heard features deeply introspective lyrics about the challenges of communication in interpersonal relationships. The first verse describes the nervousness and self-doubt that can arise when trying to express oneself honestly to another person. The singer seems to be struggling with feelings of vulnerability and defensiveness, as they imagine themselves tilting at windmills and wearing metaphorical armor.
The chorus of the song reveals the singer's frustration with their own tendencies to reveal too much of themselves in situations where they may not be ready or willing to do so. They "never mean to mention things like that" or "tip their hand" but they always seem to do so anyway. The repetition of the phrase "I always do" underscores the singer's frustration and perhaps even shame about their inability to control the way they communicate.
The second verse offers a glimmer of hope, as the singer suggests that both they and the person they are addressing might benefit from better listening skills. Instead of jousting with their deepest fears or playing a somber tune on their internal flute, the singer hints that they might open themselves up to a softer, more vulnerable experience if they were to truly listen to the other person's perspective. The final line suggests that this might even have a physical impact on the singer's appearance, as they imagine having "fewer lines on their face" if they were more open and receptive.
Overall, "I Always Do" is a thoughtful exploration of the challenges and rewards of vulnerability and openness in human communication. Its insights into the human condition continue to resonate with listeners today, even decades after its initial release.
Line by Line Meaning
I take the chance, I catch your sudden eye
I am attempting to grab your attention and engage with you.
One glance I realize I've got no words
Upon seeing you, I become speechless and unsure of what to say.
But if you'd listen to me, if you'd listen to me
If you would take the time to listen to what I have to say,
If you'd listen you might hear me
You may be able to understand me better.
Fencing with the windmills of my deepest fears
I am battling my own internal struggles and fears.
Jousting with this armor that I've riveted on
I am defending myself with a protective shell that I have created.
And if I'd listen to you, if I'd listen to you
If I were to take the time to understand your perspective,
If I'd listen I'd be a bit softer than stone
I would be more open and receptive to what you have to offer.
I NEVER MEAN TO MENTION THINGS LIKE THAT
I do not intend to bring up certain topics of conversation.
BUT I ALWAYS DO
However, I inevitably end up doing so anyway.
IT'S NOT LIKE ME TO TIP MY HAND
It is not typical of me to reveal my true thoughts and feelings.
I NEVER MEAN TO FACE THIS LOOKING-GLASS
I do not intend to confront my own inner struggles.
WHEN I FACE YOU I ALWAYS DO
But when I am with you, I cannot help but do so.
I hit the floor suggest we move our feet
I make a suggestion that we dance and have a good time.
Good mood seems painted on our fleeting best
We appear to be in a good mood, but it may not last long.
Blowing on a flute carved of hollow bone
I am expressing myself through music, which may reflect my somber mood.
Some somber tune that seems to suit my taste
The music I am playing reflects my personal preference for melancholic melodies.
If I'd listen I'd have fewer lines on my face
If I were to listen and be more open, I would have less stress and worry reflected on my face.
Contributed by Mackenzie R. Suggest a correction in the comments below.