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.”
Running Out On Me
Robben Ford & The Blue Line Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
that no amount of lovin' you, could ever keep you here
Packed up to leave, and never lookin' back
and don't try to stop this train, 'cause it's headed down the track
Never a tear across that cheek
No sign of sympathy, for a man who's feeling weak
Walkin's much to slow, so your runnin' out on me
but somehow you stole my heart, and now I can't be free
So please forgive me, if it's hard to take this in
but I gave you everything, now your tellin' me it's the end
Never a tear across that cheek
No sign of sympathy, for a man who's feeling weak
and walkin's much to slow
So your runnin' out on me
Where did the time go, see how fast it flies
Now it's time to fly away, you can't stand long good-byes
I shouldn't take it so hard it's not that you don't care
but I'm one of many men
The rest are still out there
Never a tear across that cheek
No sign of sympathy, for a man who's weak
and walkin's much to slow
So your runnin' out on me
"Running Out on Me" by Robben Ford is a heartbreaking song about a man losing the love of his life. The first verse of the song declares that the singer has come to face the reality that no matter how much he loves his partner, they will inevitably leave him, and nothing can quite stop them. The partner has already packed and is on their way to leave without any tears being shed. The singer is feeling weak, and the only thing the partner can do is run away from him, while his heart breaks.
The second verse starts with the singer admitting that his partner never lied to him, but they have stolen his heart and left him feeling trapped instead of free. Though he gave everything he had to the relationship, everything has come to an end. The singer is feeling lost and hurt; he can barely walk, and the partner can't wait to run away from him. In the bridge, the singer acknowledges the passing of time and how it had quickly flown by. Now, it's time for the partner to flee as they cannot stand goodbyes. The singer is only one of many men, and he is left feeling weak, with no tears or any sign of sympathy from his partner.
Line by Line Meaning
It's time to face it, the simple facts are clear
It's time for me to accept that you are leaving and the truth is clear.
that no amount of lovin' you, could ever keep you here
No matter how much I loved you, it wouldn't have made you stay.
Packed up to leave, and never lookin' back
You have already packed your bags and don't plan on coming back.
and don't try to stop this train, 'cause it's headed down the track
Don't bother trying to stop the inevitable, because it's already happening.
Never a tear across that cheek
You show no emotion or sympathy towards me leaving, despite my sadness.
No sign of sympathy, for a man who's feeling weak
You show no empathy or concern for me, even though I feel vulnerable and powerless.
Walkin's much to slow, so your runnin' out on me
You are in a hurry to leave, and walking is too slow for you, so you are running away from me.
I must admit it, you never lied to me
I have to acknowledge that you were always truthful to me.
but somehow you stole my heart, and now I can't be free
You captured my heart and now I can't let go of you, even though you are leaving.
So please forgive me, if it's hard to take this in
Please bear with me as I come to terms with your departure.
but I gave you everything, now your tellin' me it's the end
I gave you everything I had, and now you are telling me that it's over.
Where did the time go, see how fast it flies
I can't believe how quickly time has passed, it feels like it was just yesterday that we met.
Now it's time to fly away, you can't stand long good-byes
It's time for you to leave, and you don't want to say a lengthy goodbye.
I shouldn't take it so hard it's not that you don't care
I shouldn't be so upset because it's not that you don't care about me.
but I'm one of many men
I realize that I am not the only man in your life.
The rest are still out there
There are other men in your life that you still have yet to explore.
Lyrics © Universal Music Publishing Group
Written by: ROBBEN FORD
Lyrics Licensed & Provided by LyricFind
Diatonic Dude
First heard Robben play this live at Cambridge in the UK in the nineties.......cool as :)