Today, possessing a résumé that includes stints with an impressively broad range of other musical personalities—Miles Davis, George Harrison, Little Feat, and the Yellowjackets, among many others—Ford has demonstrated an uncanny adaptability similar to that of the MG’s and the Muscle Shoals group. The guitarist has effortlessly traversed genres without compromising his exquisite, blues-based playing and singing. So it’s only natural that on his latest album, Keep On Running (CCD-2187), Ford tips his hat to Muscle Shoals and the MG’s, offering fresh takes on soul classics, in addition to serving up several glowing originals.
Keep On Running boasts a core group of heavyweight players—bassist Jimmy Earl and drummers Toss Panos and Steve Potts. Ford couldn’t be happier with his co-conspirators. Of the low-end, he raves, “Jimmy’s just about my favorite bassist in the world. He has a great feel, and he and I see eye-to-eye in terms of time; Jimmy is so comfortable to play with.” Ford is similarly praiseful of his percussionists: “Steve plays so beautifully. He can do rhythm ’n’ blues in such an authentic way, while at the same time sounding incredibly fresh. And I’ve played with Toss on the road for a couple of years now; I’ve really benefited from his unique feel.”
Among other instrumentalists, Ford expanded the core group with a battery of keyboard players. But after the recording was completed, Ford, a relentless perfectionist, found that their sounds were incongruous. He explains, “At a certain point, I thought, ‘What’s wrong with this picture?’ It turned out I just didn’t want to hear the [Hammond] B3 [organ].” So Ford, himself a diligent multi-instrumentalist, redid most of the keyboard parts, using the more appropriate-sounding Wurlitzer electric piano.
Ford’s journey throughout this CD, his second for Concord Records, covers many musical miles. Starting things off, the title track is a fresh though faithful cover of the Spencer Davis Group classic, which captured a then 17-year-old Steve Winwood on vocals. Joining the core cast here are Bob Malach on tenor sax and Edgar Winter on baritone; Ford expertly handles the guitar, vocal, and keyboard parts. “I really dug this record when I was growing up,” says Ford. “I’d been wanting to hear it again, but it only recently became available on CD. My producer [John Wooler] also had this song in mind. We worked up an arrangement at rehearsal recorded it.”
“Over My Head” showcases Ford’s organic, breezy compositional style in a song dealing with the oldest of subjects: man chases woman, followed by heavy infatuation. Here, his smooth, blues guitar screams and moans in a perfect extension of the song’s soulful vocals. “‘Over My Head’ came from a casual guitar riff that I found myself playing one day,” says Ford. “The words tumbled out quite naturally. The riff seemed to suggest something many men go through as one point, or many times—meeting a woman you know is dangerous but find completely irresistible.”
Ford was at first uncertain about “Can’t Do My Homework,” originally recorded by Otis Rush. The guitarist says, “We played the song, but it has such a camp lyric. It felt so good, though, and was so much fun to play, that we just had to use it.” And it is such an enjoyable listen, too. Showcased here are Ford’s gorgeous guitar tones and sharp, playful improvisations, which never stray too far from Rush’s original version.
On “Badge” (written by Eric Clapton and George Harrison, and recorded by Cream), Ford offers another respectful cover, his smooth vocals backed by those of Siedah Garret (the singer also appears on “Bonnie”), and his creamy guitar tone recalling that of Clapton, while retaining Ford’s own unmistakable imprint. “I’ve always loved the first Cream album, which is brilliant,” says Ford. “Recording ‘Badge’ was John Wooler’s idea. I’m glad he suggested it; the song so was nice to use as a touchstone, since I had worked with Harrison, and he had recently passed away. You can really hear his influence in there, as well as Clapton’s.”
“Peace Love & Understanding” finds Ford using R&B to smooth out a more rocking version recorded previously by Elvis Costello. On this outstanding song, Ford duets with the legendary Mavis Staples (who, incidentally, began her recording career at Stax/Volt in 1969, backed by the MG’s) commenting on the difficult times as of late. Ford explains, “I have to say that I didn’t grow up listening to Elvis Costello. But this song presented a great opportunity: I don’t like what’s going on in the world right now, and “Peace Love & Understanding” expresses a beautiful sentiment.
A smart blues instrumental, “Cannonball Shuffle” was written by Ford for Freddie King. The composition showcases Ford’s gutsy though refined playing, in addition to some fine soloing from Malach. Ford says, “While planning this album, Wooler and I were talking a lot about Freddie King. As a youngster, I’d never gotten next to him, but now that I’ve taken the time to get inside his style, I modeled ‘Cannonball Shuffle’ after tunes like ‘Hideaway’ and ‘The Stumble.’”
The album’s second half—“Me and My Woman,” “Bonnie,” “Lifetime Thing,” “For the Love of Money,” and “Hand in Hand With the Blues”—maintains a similar vibe. It’s at once old-school and, thanks to Ford’s outstandingly fresh playing, contemporary. Ford says, “This is the music I grew up with, when things were more carefree. For me, the album is full of nostalgia. I think we could all use some of that kind of feeling today.”
Don't Let Me Be Misunderstood
Robben Ford & The Blue Line Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And don't you know that no one alive can always be an angel
When things go wrong your bound to see the bad
I'm just a soul whose intentions are good
Oh no, please don't let me be misunderstood
Baby, sometimes I'm so carefree with a joy that's hard to hide
And you're bound to see the other side
I'm just a soul whose intentions are good
Oh no, please don't let me be misunderstood
If I seem mean to you, I want you to know
That I never mean to take it out on you
Life has it's problems and I get my share
And that's one thing that I never mean to do, 'cause I love you
Oh baby, don't you know I'm human
I have faults like any other one
Sometimes I find myself alone and regretting
Some foolish little sinful thing I've done
And I'm just a soul whose intentions are good
Oh no, please don't let me be misunderstood
If I seem mean to you, I want you to know
That I never mean to take it out on you
Life has it's problems and I get my share
And that's one thing that I never mean to do, 'cause I love you
Baby, don't you know I'm human
I have faults like any other one
Sometimes I find myself alone and regretting
Some foolish little sinful thing I've done
I'm just a soul whose intentions are good
Oh no, please don't let me be misunderstood
I'm just a soul whose intentions are good
Oh no, please don't let me be misunderstood
The lyrics to Robben Ford & The Blue Line's song "Don't Let Me Be Misunderstood" have a message of vulnerability and human imperfection. The lyrics can be interpreted as a plea from the singer to not be judged too harshly for their mistakes and flaws. The first verse talks about the duality of human nature: sometimes we are good, and sometimes we are bad. Despite our best intentions, we cannot always be perfect, and things will inevitably go wrong. The singer begs the listener not to judge them too harshly for their mistakes.
In the second verse, the singer expresses their desire to be carefree and happy, but acknowledges that life is not always so easy. They assure the listener that they never mean to hurt anyone, but sometimes they do. The chorus repeats the message of the verse, that the singer is just a soul with good intentions who does not want to be misunderstood.
The bridge provides further insight into the singer's psyche. They admit to having faults like any other human being, and sometimes finding themselves alone and regretful. But their intentions are good, and they hope that others will understand that.
Overall, the lyrics of "Don't Let Me Be Misunderstood" are a powerful reminder of our shared human vulnerability and the importance of compassion and understanding towards each other.
Line by Line Meaning
Baby, do you understand me now, sometimes I feel a little mad
I'm asking if you can empathize with my emotions, as I do get frustrated from time to time.
And don't you know that no one alive can always be an angel
Nobody is perfect, and everyone has flaws.
When things go wrong your bound to see the bad
When something doesn't go according to plan, it's easy to focus on the negative.
I'm just a soul whose intentions are good
I am someone who has good intentions at heart, despite any mistakes I may make.
Oh no, please don't let me be misunderstood
Please don't misconstrue my actions or thoughts in a negative light.
Baby, sometimes I'm so carefree with a joy that's hard to hide
I have moments of happiness and contentment that are difficult to conceal.
Then sometimes it seems that all I have to do is worry
Other times, I feel like all I can do is focus on my problems and concerns.
And you're bound to see the other side
If you stick around long enough, you'll see both the good and the bad that comes with being around me.
If I seem mean to you, I want you to know
If I come across as harsh or negative, I want you to understand that's not my intention.
That I never mean to take it out on you
I would never want to direct my negative emotions toward you in a harmful way.
Life has it's problems and I get my share
We all experience our share of struggles and obstacles in life.
And that's one thing that I never mean to do, 'cause I love you
Because I care deeply for you, I would never want to intentionally cause you harm or pain.
Baby, don't you know I'm human
I want you to remember that I am a flawed human being, just like everyone else.
I have faults like any other one
I am not perfect, and I make mistakes from time to time.
Sometimes I find myself alone and regretting
There are moments where I feel isolated and sad about something I've done.
Some foolish little sinful thing I've done
I may have made a mistake that I feel ashamed of or regretful about.
Lyrics © WARNER CHAPPELL MUSIC FRANCE
Written by: Bennie Benjamin, Gloria Caldwell, Sol Marcus
Lyrics Licensed & Provided by LyricFind