“I was always a writer," says the man formerly known as Aaron Livingston. "Before I really learned music, I was serious about writing. Didn’t matter what it was. Just playing with words.”
Considering how long he's been making music, that's saying something. Born in Los Angeles to a preacher and a teacher, as a kid he absorbed songs from dusty family records and learned saxophone and piano, though he felt more at home inventing his own language on those instruments rather than following the lesson plan. Adapt or die, as they say.
Cycling through jazz, rock and R&B history, the hungry young son was beginning his true education. A few years later, the Livingstons moved to Queens, introducing Aaron to the active arts of hip-hop, basketball and city life. High school in suburban Jersey left him wanting more, so he headed to Manhattan and Columbia University, where he discovered art, recreational substances, and girls, girls, girls. He dropped out, got a job, got sad, kept journals. He moved to Philly, enrolled at Temple University, met the legendary Roots crew, even played music with them; they put his voice on an album, undun. He had a daughter, then a son. He was happy, still writing all the while.
Then, slowly, the music stalled. Faded. He got another dead end job. He checked out of days. He got sad again. He forgot how to adapt.
But, as it has the ability to do, the songwriting saved him. It was in his blood, he remembered. Coltrane. Hendrix. Santana. Tribe. And this time he vowed to never let it go. That's not to say he's always happy; he's human, after all. But making music helps keep things in perspective.
"I feel the weight of life as I always did, as everyone does," he says. "But I feel the weight lifted, because I love doing this. And the more I do it, the more I love it."
Son Little writes everywhere, every day, finding inspiration on the train, in a car, on the street, in the supermarket, with his children. Sometimes the ideas are fresh. Sometimes a tune comes from his past, a single spark. Nothing is off limits.
"It could be just a thought, and everything else comes from that," he says. "In one of my books could be a phrase that later is a song, and then the song becomes a whole catalog. It’s gotta germinate from somewhere."
Inspiration firmly struck, the song begins to bloom. There are many channels to Son Little's broadcast, varied stops on the dial, from blues to soul to funk to folk, and jook-joint jazz and chamber pop and back again. His voice—raw, weary yet alert, grave and gravelly, Marvin and Otis and Stevie all at once—soars and creeps, cracks and moans. His songs haunt, thrill, yearn and stomp like all the best work of his heroes.
And the learning never stops. Little has collaborated with highly respected artists like The Roots and the producer/DJ RJD2, mentoring under the former and creating a duo with the latter called Icebird, which allowed him to flex his considerable vocal chops and song arrangement skills.
"I've always loved the studio, but RJ helped me see how I can use it more effectively and find ways to challenge myself, and be inventive with sound. And The Roots, it’s hard to quantify what I’ve learned from them. Everything from how to rehearse to how to occupy the stage and command it…two things that are very fundamental in this business, and they are masters."
This fall sees the release of the first recorded output from Son Little for Anti- Records, an EP called, wouldn't you know it, Things I Forgot. Six songs: three babies (released first as videos), two twins, and an RJD2 remix. It's all there, all those misremembered things: Triumph and trophies, hardship and heartache, soft sentences, loud chapters, facts and birthdays, faces and places and scrapes and scales, nights and weeks and years all lost, gone into the ether, slipped away, out-sizing our normal human bandwidth.
"The singles, 'Cross My Heart' and 'Your Love Will Blow Me Away When My Heart Aches' and 'The River,' were more or less written consecutively," he says. "And so I think they were sort of internal responses to one other, complements. It's harder to place but I’ve been tinkering with the other two, 'Joy' and 'Alice,' for a long time. They’re sort of akin to one another in terms of mood. This is a small collection and maybe it's not as much a singular vision...it's more of a handful.”
A grip of memories; Things He Forgot. Son Little writes to remember, matching the disparate vibes of his full, full life with a patchwork blanket of sound, experience and inspiration. Inventing, observing, adapting. And still, it grows.
"I don’t see any end to the learning," he says. "And to understanding more of something that you immerse yourself in. Could be anything, again. Right now I’m immersed in this music and I feel that my understanding appreciates and changes scope and perspective. It's really rewarding in its own way."
Bend yr ear
Son Little Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But it feels like it can't wait
This ain't my style, can't really lie
I can feel the heat start to rise
Who am I?
And is this a bad time
For me to tell you how I feel, honey?
To let me bend your ear? Oh (oh, oh)
It may me laugh or make me cry
Your love is like the sunshine (sunshine, oh)
Washing me clean (oh, my, my)
Oh, my, my, my
If the flood come, let it rain (oh, my)
Let me find all the right ways (right ways)
To please you, baby, ohh
(Ain't no time)
Girl, it might not be the time (feel right)
But it feels like it's alright (alright, baby)
Alright (alright, baby)
This ain't my style, can't really lie (alright, baby)
Can feel the heat start to rise (sun rise, baby)
Oh, who am I? Ayy-hey
Yeah, is this a bad time
For me to tell you how I feel, honey?
And do you have a minute
To let me bend your ear? Oh
Is this a bad time
For me to tell you how I feel, honey?
Do you have a minute, oh
To let me bend your ear? Oh
Is this-
And it was twelve months to the day
That time we got caught in the rain
Yeah, baby
Over by Ricky and Gloria's place
Shit, I used to live around the way
Oh, yeah
And I know I gotta let you go
I wish there was some other way
Oh, yeah, baby, yeah
Shoulda knew that long ago
But your love's like sugar cane
I can't stay away, ayy-hey
In the first verse, the singer expresses uncertainty about the timing of expressing their feelings. They acknowledge that it's not their usual behavior to be so upfront, but they can't ignore the rising heat and urgency they feel. The question "Who am I?" suggests a sense of self-doubt and questioning their identity in relation to this situation.
The chorus introduces the idea of the singer wanting to talk to someone and "bend their ear," meaning to confide in them or share their thoughts and emotions. They wonder if it's a bad time to do so, but they genuinely want to express themselves to this person. The comparison of the person's love to sunshine implies that it brings warmth and happiness, but it also carries the potential to create tears and emotional vulnerability.
In the second verse, the singer acknowledges that it might not be the most convenient time to open up, but it still feels right to do so. They express that they can't deny the increasing intensity and passion they feel, comparing it to the rising sun. The repeated question "oh, who am I?" suggests a struggle with self-identity and understanding their own emotions in this situation.
The bridge takes the listener back to a specific memory, a moment when the singer and the person they're addressing got caught in the rain. This memory seems significant and nostalgic, as the singer mentions a specific location and reflects on the past. They admit that they have to let the person go, but they express a wish for there to be another way. The comparison of the person's love to sugar cane implies its addictive and irresistible nature, making it difficult for the singer to stay away.
Overall, the song explores the complexity of expressing emotions, the vulnerability that comes with it, and the longing to share one's thoughts and feelings with someone else. It also delves into the struggles of letting go and the conflicting emotions that arise when faced with the irresistible pull of love.
Line by Line Meaning
I don't know why it's gotta be today
I am uncertain as to why this has to happen today
But it feels like it can't wait
However, it seems like it cannot be delayed
This ain't my style, can't really lie
This is not my usual behavior, I cannot deny
I can feel the heat start to rise
I can sense the intensity growing
Who am I?
Who am I to feel this way?
And is this a bad time
Is it inconvenient right now?
For me to tell you how I feel, honey?
To express my emotions to you, my dear?
And do you have a minute
And can you spare a moment
To let me bend your ear? Oh (oh, oh)
To allow me to confide in you?
It may me laugh or make me cry
It has the power to evoke laughter or tears in me
Your love is like the sunshine (sunshine, oh)
Your love is akin to the warmth and radiance of the sun
Washing me clean (oh, my, my)
Cleansing my soul
Oh, my, my, my
Oh, how mesmerizing it is
If the flood come, let it rain (oh, my)
Even if challenges arise, let them pour down
Let me find all the right ways (right ways)
Allow me to discover the perfect means
To please you, baby, ohh
To make you happy, ohh
(Ain't no time)
(There is no time)
Girl, it might not be the time (feel right)
Girl, this might not be the opportune moment (doesn't feel right)
But it feels like it's alright (alright, baby)
Yet, it seems like it's acceptable (alright, baby)
Alright (alright, baby)
Alright (alright, baby)
This ain't my style, can't really lie (alright, baby)
This is not my typical approach, I cannot deny (alright, baby)
Can feel the heat start to rise (sun rise, baby)
I sense the passion intensifying (like the rising sun, baby)
Oh, who am I? Ayy-hey
Oh, who am I to feel this way? Ayy-hey
Yeah, is this a bad time
Yes, is this an inconvenient moment
For me to tell you how I feel, honey?
To express my emotions to you, my dear?
And do you have a minute
And can you spare a moment
To let me bend your ear? Oh
To allow me to confide in you?
And it was twelve months to the day
And it happened exactly one year later
That time we got caught in the rain
When we were unexpectedly caught in the rain
Yeah, baby
Yes, my love
Over by Ricky and Gloria's place
Near the residence of Ricky and Gloria
Shit, I used to live around the way
Damn, I used to reside in that neighborhood
Oh, yeah
Oh, yes
And I know I gotta let you go
And I understand that I have to release you
I wish there was some other way
I desire there to be an alternative
Oh, yeah, baby, yeah
Oh, yes, my love, yes
Shoulda knew that long ago
I should have realized that a while back
But your love's like sugar cane
However, your love is as addictive as sugar cane
I can't stay away, ayy-hey
I cannot resist, ayy-hey
Lyrics © O/B/O APRA AMCOS
Written by: Aaron Earl Livingston
Lyrics Licensed & Provided by LyricFind
Fabian Castro
On repeat, the whole damn day
Jon Goode
I grabbed the album today and it's GREAT top to bottom. I must say however I've been listening to this song on repeat.
Phantom Lamp
Soulful Vibes at the End of The Tunnel.
아트플리Aht
💙💙💙
Primitive In The Extreme
🎧▶🎶🌳