“There’s something magical that happens when these musicians play together,” says Ray LaMontagne. “I’ve been wanting to capture what we’ve been doing live for a while. The chemistry is really special.”
The billing on LaMontagne’s fourth album, God Willin’ & the Creek Don’t Rise, reveals instantly that something new is happening with this project. The record is credited to “Ray LaMontagne and the Pariah Dogs”—the first time that the singer/songwriter has defined himself within a band setting, rather than as a solo artist. In addition, it marks the first time that LaMontagne has taken on the role of producer. And as soon as the music starts, with the Joe Cocker-style soul power of the opening “Repo Man,” it’s apparent that one of the world’s most acclaimed artists has moved into some fresh territory.
Not that he was necessarily in need of a new direction. The album is the follow-up to 2008’s Gossip in the Grain, which debuted in the Top Five on the Billboard charts; garnered two 2010 Grammy nominations; earned LaMontagne a coveted slot performing on Saturday Night Live; and continued the expansion of a highly-respected career that began with his first album, Trouble, in 2004.
The line-up of the Pariah Dogs, and their alliance with LaMontagne, is already well-proven and familiar. These musicians—Eric Heywood and Greg Leisz on guitars, Jennifer Condos on bass, and Jay Bellerose on drums—have been working as the singer’s touring band for the last few years, and developing into a tight-knit team. Though he had thought about trying to get all of these busy session players together in the studio before, only now did time and circumstance align and make it possible.
For one thing, there was a new work set-up that LaMontagne was excited about. “I just bought this old estate in western Massachusetts that belonged to the first US ambassador to Russia,” he says. “There’s this beautiful room in the house, that was once a connected barn that was turned into a ballroom in the early 1900’s and I felt like it would make a great place to record.
“It was an unknown space and an unknown situation, but it all worked,” says drummer Bellerose. “It was one of the easiest sessions I’ve ever done—the songs just played themselves. We were scheduled to record for two weeks, but we were done tracking in five or six days.”
The last song on God Willin’, “The Devil’s in the Jukebox,” was the first thing that the group recorded. Bellerose notes that this simple, bluesy track set a tone for the sessions. “It was kind of a springboard,” he says. “It loosened everybody up, gave us a chance to breathe.”
“That’s one of those songs I tend to write that is so damn linear, it’s up to us to make it interesting,” says LaMontagne with a laugh. “If you take it apart, there’s not a lot happening. But the way these guys approach songs is always surprising. Where they take the melody, the interplay between the rhythm section—who knows what they’re going to come up with?”
Guitarist Heywood says that the singer “made a decision beforehand to trust the band, and he really stuck to that.” He points to the album’s title track as an example of the way these sessions allowed each song to find its own path. Heywood and Leisz both play pedal steel, and they looked to LaMontagne to determine the arrangements and instrumentation.
“On that one, he said, ‘How about two pedal steels?,” Heywood recalls. “And then Jay started doing this bombastic, artillery-style drum thing. The song reads as a letter, with no chorus or bridge, so the whole thing was the most surprising track for me, and definitely one of my favorites. And Ray’s vocal performance is amazing.”
Ray LaMontagne has one of the remarkable stories in music’s past decade. Since leaving his job in a Maine shoe factory to pursue his calling as a musician, he has released three studio albums and two live EPs, won awards and topped critics’ polls internationally, and established himself as one of the most distinctive talents of his generation. His songs have been featured in numerous films and television shows, including multiple performances of his compositions on American Idol.
Yet he maintains that, until God Willin’, all of these accomplishments have come despite his own struggles in the recording studio. “The process has always been laborious, it’s been difficult for me to get any momentum,” he says. “I always felt like I was swimming upstream.”
But this time, things were different. “Ray was really in his comfort zone,” says Bellerose. “He was home with family, he’s really relaxed around this band—there was never a moment that felt uncomfortable. I think he’s just having a lot more fun communicating with more people, and getting out of being on his own as a singer/songwriter.”
LaMontagne claims that he didn’t specifically set out to write songs for this group of musicians, though he certainly had its sound in his mind. Regardless of the outcome, he says that his process didn’t—and can’t ever—change.
“For me, songs just have to happen, they have to come out of nowhere,” he says. “Otherwise it sounds like you’re trying to write a song, and I can spot that a mile away—and I think listeners can, too.
“I won’t ever sit down and write unless something is knocking at the door. I can go months without writing a song—and that’s when it gets scary, when you feel like you’re never going to write another song because they’re just not coming around.”
LaMontagne’s steady output, however, indicates that there’s little cause for concern. And for God Willin’ & the Creek Don’t Rise, in addition to his own extraordinary writing, these ten songs had the benefit of contributions from an exceptional bunch of musicians, collaborating under ideal conditions. Even the notoriously self-critical LaMontagne can’t hide his delight at the results.
“These guys are all so good, and I trust their instincts, I just wanted to write songs that I felt would excite them,” concludes LaMontagne “There was a certain amount of pressure, because they’re so much more accomplished than I am as a musician. But I knew that if I could pull together a batch of songs I was happy with, there was really no risk involved.”
This biography was provided by the artist or their representative.
For The Summer
Ray LaMontagne and the Pariah Dogs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ain't a man alive that likes to be alone?
Been a while since I seen my lady smilin'
Have I been, have I been away so long?
I am tired
I am tired
I could slow down for a little while
Get back to loving each other
Leave all those long and lonesome miles behind
Through the years I have learned
Some things worth the tellin'
And you'd be right in guessin'
That each and every lesson they were hard won
I am tired
I am tired
Can I come home for the summer?
I could slow down for a little while
Get back to loving each other
Leave all those long and lonesome miles behind
You'll follow her wherever she goes
You love her and you just wanted to know
That you'll follow her, you'll find a way
Cause you love her and you just wanted to know
"For The Summer" by Ray LaMontagne and the Pariah Dogs is a soulful, nostalgic ballad that reflects on the longing to return home and reconnect with loved ones after spending a long time on the road. The opening lines set the scene perfectly by depicting the singer traveling through hills and wondering whether he's been away from his lady love for too long. The lyrics throughout the song are repetitive, emphasizing the weariness of the singer who is longing to come back home and spend some peaceful time with his partner.
The chorus is the most poignant part of the song, where the singer puts forth his simple yet heartfelt wish to come home for the summer, slow down, and rediscover the love they have for each other. The bridge touches upon the bittersweet nature of life, where every lesson is hard won and challenges are inevitable. The song ends on a hopeful note, with the singer acknowledging that he'd follow his partner wherever she goes because he loves her and wants her to know that.
The song's strong emotions and contemplative lyrics resonate deeply with anyone who's been on the road for too long and craves the comfort of home. Its soulful melody and Ray LaMontagne's soulful voice add to the overall brooding atmosphere of the song, making it a timeless classic.
Line by Line Meaning
Rollin' through these hills I've known I'd be comin'
Traveling through familiar territory, realizing inevitable return to a significant person or place.
Ain't a man alive that likes to be alone?
Expressing the common human desire for companionship.
Been a while since I seen my lady smilin'
Noticing an absence of happiness in a loved one's face over a period of time.
Have I been, have I been away so long?
Self-questioning the amount of time spent apart from a significant other and its potential effect on the relationship.
I am tired
Acknowledging fatigue or emotional exhaustion.
Can I come home for the summer?
Expressing a desire to return to a place that feels like home for a temporary amount of time.
I could slow down for a little while
Considering the value of taking a break from the busyness of life and routines.
Get back to loving each other
Recognizing the importance of rekindling a romantic relationship that may have been neglected.
Leave all those long and lonesome miles behind
Yearning to escape from feelings of loneliness or separation that may have been experienced while apart from loved ones.
Through the years I have learned
Reflecting on accumulated wisdom and experiences that have contributed to personal growth.
Some things worth the tellin'
Believing that certain stories or lessons are worth sharing with others.
And you'd be right in guessin'
Assuming that others would make accurate assumptions about one's life experiences.
That each and every lesson they were hard won
Acknowledging the difficulty of learning important life lessons through personal hardship and perseverance.
You'll follow her wherever she goes
Indicating the depth of devotion and loyalty to a significant other.
You love her and you just wanted to know
Stating a simple but profound truth about the nature of love and the desire for reassurance.
That you'll follow her, you'll find a way
Reaffirming the commitment to pursuing and supporting the significant other no matter the obstacles.
Lyrics © Warner Chappell Music, Inc.
Written by: RAYCHARLES JACK LAMONTAGNE
Lyrics Licensed & Provided by LyricFind
Shagata Ganai
Ah, one who knows. May your guardians bless you with the peace which comes with the wisdom to understand the lessons here so that you might "punch your own ticket" next time. If you can believe it, suicide/drugs is easier than murder. I have one of each, plus one.
The "new girl" owned me, lock, stock, and barrel at age 22, by the time I'd been in her presence not a second longer than forty-five. Her voice took my soul upon first hearing and then her laughter took ownership of my heart a few seconds later. I was all done.
She was in a LTR and I was crawling out of a bad first marriage. I couldn't tell a soul I knew that this girl had changed me by talking to me and smiling. I could FEEL her (not scent, not hear, not touch. Energy) if she stood within arms' length of me. I didn't believe in any of that "Destiny" shit. Right up until I met her. Make no mistake, I had to "gear up" inside my mind to get to this girl, tighten my act, but I HAD NO CHOICE IN THE MATTER.
She had changed the way I thought about half the planet's population. I had become a feminist in 1977 because any problem I put HER face on, I was all over. I know, but I'd been breaking any of the necessary rules to get to her, so it was OK. She said, "Yes!" with that little "hop" girls sometimes make when happy or excited. It had taken me eighteen months. She had now put me in the position where I could at least now beg: "Please never, ever, send me from you side."
I had won the world. There would be no greater "victory" for me. I had succeeded BEYOND my wildest fantasy of beauty and love. Ten months after the sudden death of my best friend and polymath mentor, my own father who had died at 43 of heart disease, and now I was going to be OK! This shaman I had not yet kissed or even touched would heal me, she had already begun.
She swore me to secrecy that Thursday, Feb 23, so that she could go tell her ex herself. I did not know him, his temperament. She talked to him on Friday PM, in person. On Monday overnight, on her way home, she was stabbed and left to bleed out, not surviving the stabbing so savage it surprised investigators that that hospital being only seven blocks away had made no difference.
Over four decades later, a dream from which I could not "disengage" took me back (then) 41 years to the moment I heard, "Julie's dead." And saw the emptiness of Hell again. Still the same joint it was when Mom OD'd on pills to which she wasn't addicted out of the blue eight years prior to the girl's death, seven before my Dad's sudden death.
So now only I, the killer and his wheel man, who is also known to me, are the three people who even know I was engaged to the girl. For four days. And the moment of hearing news of her death was so damaging, I essentially became a lesser person, a temporarily broken person, but one who could not be prompted to self-harm by a single reminder of a girl or a father who had been my bestie for a long time before I figured it out, within the same calendar year. The manuscript/memoir up through age 23.5 is somewhere north of 600 (six hundred) pages, lol. I'm in an agent search rn.
wwwA. julieBcampbellCmurder.Dcom
Pull A-D, the four capital letters, eliminate the space after the Ws. The site is not mine, I did not become aware of its existence until the end of 2019
The biggest eye-opener for me (so far) is knowing that I am blessed to merely be alive. To be here highly-functioning on a couple of levels just looks like bad script writing. It's not. But the girl validated my life with a single word this time.
Every single word is true. Every one. I'm the guy not mentioned anywhere on the site because my brain had been smashed flat at the end of February and I barely knew my own name when the warm weather came to stay awhile that summer. As a young child I had once heard a story of great love and great loss and I wondered how adults dealt with such matters.
Be careful for that which thou wishes ...
Antonia B.
Rollin' through these hills I've known I'd be comin'
Ain't a man alive that likes to be alone?
Been a while since I seen my lady smilin'
Have I been, have I been away so long? I am tired
I am tired Can I come home for the summer?
I could slow down for a little while
Get back to loving each other
Leave all those long and lonesome miles behind Through the years I have learned
Some things worth the tellin'
And you'd be right in guessin'
That each and every lesson they were hard won I am tired
I am tired Can I come home for the summer?
I could slow down for a little while
Get back to loving each other
Leave all those long and lonesome miles behind You'll follow her wherever she goes
You love her and you just wanted to know
That you'll follow her, you'll find a way
'Cause you love her and you just wanted to know
Josie Davis
This man's music is the most beautiful thing I have heard in a very long time. There is nothing this relaxing or peaceful on the radio nowadays. It is all mostly noise, not melody. This however, makes me feel so good that I could listen to him for days.
LiamX
Of course their is. Relying on the radio was your first mistake. There is a plethora of good music these days. You just need to find it. Turn the radio off, it is garbage.
Gilmour11
Yes.....so soothing and relaxing. Ray really puts you in a beautiful state of mind.
warren tully
Australia, Western Australia,coral bay . 20 / 04 / 2023 .❤
Nathan Golden
I sing this song to my infant son when he is fussy, it soothes him and he passes right out. No other song does that for him. Thank you Mr. LaMontagne.
Eileen Sianez
lol
Arlo220
hmmm... passes out??
you sure he's ENJOYING your singing??
Shagata Ganai
Sacred stuff.
Jim Murney
SPECTACULAR !!!! As much soul and passion as you will hear. He is incredible.
Joanie Atherton
I Love Rays music it’s simplistic style with so much meaning to life ❣️