On any given day, I might be playing for a film soundtrack, flute for Mandisa, clarinet for Wynonna, penny whistle for Amy Grant or saxophone for Lynyrd Skynyrd. I have recently recorded for Vince Gill, Aaron Neville, The Brooklyn Tabernacle Choir, Carrie Underwood and Kenny Chesney. In my career I have played shows with Sammy Davis Jr., Mel Torme, Henry Mancini, Dolly Parton, Vince Gill, Reba McIntire, Michael McDonald, Al Jarreau, Liza Minnelli, Amy Grant, Toby Keith, Lynda Carter, Michael W. Smith and Larry Carlton.
As an artist, I have more than 16 artist recordings on three different labels (Greenhill Music, Village Square and Brentwood Jazz). I find the wordless voice of instrumental music brings a uniquely personal meaning to lyrics. I have tried to convey that in my recordings whether they are romantic love songs, oldies from the 50′s and 60′s or the timeless hymns of the church. I am an active member of Westminster Presbyterian church where I serve as a musician and elder. In addition to playing flute, pennywhistle or saxophone for worship, I am often asked to provide Celtic or Dixieland bands for services at my home church or other area churches. My participation and leadership at Westminster Presbyterian follows a life-long spiritual development that began with my parents marriage of Jewish and Christian traditions.
My two latest recordings, “Smooth Praise” and “Smooth Worship” are sax versions of Praise and Worship songs. Just prior to those two releases was an urban smooth jazz CD of well known R and B ballads from the 70′s and 80′s called “Sax in the City”.
I lead a band called “City Lights” that does wedding and business receptions. We do family and music industry events for clients who want a band that has style and creativity. The traditional jazz group, “Bourbon Street” and the contemporary jazz group, “Phatjaz“, are also active.
The wonderful talent pool of Nashville’s classical musicians makes it possible to contract chamber ensembles and even a full orchestra for recording sessions, wedding ceremonies or corporate events.
I love waterskiing and we have a nice long season here in middle Tennessee. I also love to downhill ski and hiking so I try to make at least one trip a year out west. In between I stay in shape by going to one the area YMCA‘s
Bill Bailey Won't You Please Come Home
Sam Levine Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I moan the whole night long
I′ll do the cookin', honey, I'll pay the rent
I know I done you wrong
Remember that rainy eve′ that
I drove you out with nothin′ but a fine tooth comb
Yes, I know that I'm to blame, and ain′t that a shame
Won′t you come home, Bill Bailey, won't you come home
I moan the whole night long
I′m-a gonna do your cookin', honey, I'm-a gonna pay your rent
I know that I′ve done you wrong
Remember that rainy eve′ that
I drove you out with nothin' but a fine tooth comb
Well, I know that I′m to blame, and ain't that a dirty, low-down shame
Bill Bailey, won′t you please come home
Come home, come home, Bill Bailey
Bill Bailey, won't you please come on home
Come home, Bill Bailey
Bill Bailey, won′t you please come on home
Come on home
The lyrics to Sam Levine's song "Bill Bailey Won't You Please Come Home" depict a plea from the singer to Bill Bailey, asking him to return home. The singer expresses their longing for Bill Bailey's presence and admits to their own wrongdoing. The song opens with the repetition of the phrase "Won't you come home, Bill Bailey, won't you come home" which sets the tone of desperation and longing. The singer confesses that they moan the whole night long, illustrating the depth of their sadness and longing for Bill Bailey's return.
The singer goes on to promise that they will take care of Bill Bailey, offering to cook for him and pay the rent. They acknowledge that they have done wrong and take the blame for driving Bill Bailey out on a rainy evening with nothing but a fine-tooth comb. The repetition of this phrase emphasizes the regret and remorse the singer feels for their actions. The song ends with another plea for Bill Bailey to come home, echoing the singer's desire for reconciliation and forgiveness.
Line by Line Meaning
Won't you come home, Bill Bailey, won’t you come home
I desperately want you to return to our shared home
I moan the whole night long
I express sorrow and longing throughout the entire night
I'll do the cookin', honey, I'll pay the rent
I am willing to take care of the household chores and cover the expenses
I know I done you wrong
I am aware that I have treated you poorly
Remember that rainy eve' that I drove you out with nothin' but a fine tooth comb
Recall the evening when I forced you to leave with nothing but a thorough search for faults
Yes, I know that I'm to blame, and ain't that a shame
Indeed, I acknowledge my responsibility and it is truly regretful
Bill Bailey, won't you please come home
Bill Bailey, I implore you to return to our shared residence
I'm-a gonna do your cookin', honey, I'm-a gonna pay your rent
I will make sure to take care of the cooking and cover your rent
I know that I've done you wrong
I am fully aware of the mistreatment I have subjected you to
Well, I know that I'm to blame, and ain't that a dirty, low-down shame
Indeed, I am at fault, and isn't it disgraceful and regrettable
Bill Bailey, won't you please come home
Bill Bailey, I sincerely request your return to our shared home
Come home, come home, Bill Bailey
Please come back, Bill Bailey
Bill Bailey, won't you please come on home
Bill Bailey, I beseech you to come back to our shared residence
Come home, Bill Bailey
Come back home, Bill Bailey
Bill Bailey, won't you please come on home
Bill Bailey, I earnestly request your return to our shared home
Come on home
Please return to our residence
Writer(s): Hughie Cannon
Contributed by Nathaniel A. Suggest a correction in the comments below.