After returning to the United States, Costello joined back up with his long-time creative and song-writing partner Matthew Antolick, who was drumming full-time in a Moroccan band. Antolick and Costello began working out Costello’s melodic ideas and lyrical concepts, home-recording in Antolick’s apartment what eventually became Our Fathers and the Things They Left Behind. Exploring themes of self-sacrifice and introspection over roots-folk and jazzy melodic layers, Our Fathers... was an original breath of fresh air for independent music.
The release of Our Fathers... drew immediate attention to The OaKs in Orlando's press and music scene, and the attention quickly went national as Paste magazine featured Costello and The OaKs in their July 2007 cover story "Can Rock Save the World." The OaKs also partnered with Global Hope Network on the release of Our Fathers...and agreed to donate 50% of the profits from each CD or track download from that album to aid widows and recently-returned refugees from Afghanistan.
Costello and Antolick immediately realized the difficulty of translating their multi-tracked compositions into a live setting with just a duo, and began working to put together a band of diverse musicians who could make the compositions come to life on stage. They were joined by Jeremy Siegel, a classically trained bassist steeped in Led Zeppelin and Bootsy Collins riffs, and also fluent in classical and jazz trombone. Tim Cocking came next - a piano major and audio engineer who's as dexterous on his trumpet as he is on his keyboard and accordion, and Greg Willson, a seminary student wielding a mandolin and electric guitar and who played the breathiest Stan Getz-style saxophone they had ever heard. Their lineup was completed shortly thereafter by Melissa Reyes, a singer-songwriter whose alto voice and folk harmonies complemented perfectly with Costello’s high vibrato. From the first guitar riff at their debut show on stage at the 2006 Anti-Pop Music Festival, it was apparent that they were meant to be making music together – the energy in the room was electric, and the reviews were raving.
Out of this natural chemistry was born many new songs over the winter of 2006/2007. Inspired by the unique talents of each member, Costello and Antolick began writing songs that would showcase the bands rhythmic tightness and diverse instrumentation. Lyrically, Costello delved into themes of spirituality in the midst of brokenness, of longing and searching, and continued to explore the previous album’s themes of social justice and self-sacrifice. The OaKs honed these tracks in the living room of Costello’s wood-floored 1950’s style house, and at live shows across the state, until the musical complexity and rhythmic tightness of the music exceeded anything they had created before.
In late July of 2007, Costello put in for part-time employment at his social work job and the OaKs began recording Songs For Waiting. Using the warm, full sound of Costello’s old house, they determined to use no artificial reverb on the new album, instead using room mic’ing techniques to mix the elements together in the style of their favorite 1960’s jazz and rock albums. Even synthesizers were played through amplifiers and speakers and run into the room to give them the woody ambience of Costello’s house. Over the next few months The OaKs employed trumpet, trombone, sax, Hammond organ, bells, synths from the 70’s and 80’s, acoustic and classical guitars, electric and acoustic bass, a plethora of shakers, tambourines, and hand-drums, and a Wurlitzer electric piano from 1959.
In mid October Antolick, Costello, and keyboardist Tim Cocking began mixing the new album. Using as few modern mixing tricks as possible, including no artificial reverb or delay, they carefully arranged each song. Throughout the mixing process they were mentored and guided by Alan Douches of West West Side Music, who’s hand has been on great recordings from Paul Simon’s Graceland to Grizzly Bear’s Yellow House and Sufjan Steven’s Illinois.
Finally, after over four long months, the OaKs’ Songs For Waiting was finished on November 8, 2007. The new album is scheduled for release on March 4, 2008.
Freeing My Heart
The Oaks Lyrics
Jump to: Overall Meaning ↴
it breaks so easily
Be careful if you're smart
don't fall in love with me
Be careful with my heart
its beating just for you
And for at least tonight
its love is true
And when the morning sun arrives
We both may say adieux
Or maybe if my heart survives
One night turns in to two
But either way, we'll live
our lives far better than before
Amour Mon amour
Be careful with my heart
and feed it with a kiss
Be careful from the start
its never felt like this
Be careful with my heart
its racing far too fast
This fool for love hopes
this time love will last
But even if we drift apart
and go our separate ways
A piece of one anothers heart
will smile back on these days
Remembering this work of art called
love by you and me
Mais ouis Oh, mais oui
Careful I feel I'm falling one more time
Careful you don't start falling too
Careful look any closer you will see
that I'm in love with you
Be careful with my heart
don't fool a fool like me
I always do my part
but there's no guarantee
Be careful with my heart
there's more than love at stake
For once you break a heart
it can't unbreak
No once you break a heart
it can't unbreak
So be careful with my heart
The lyrics of "Freeing My Heart" by The Oaks convey a sense of vulnerability and caution when it comes to matters of the heart. The singer pleads for their heart to be handled with care, as it is fragile and easily broken. They warn the listener not to fall in love with them, emphasizing the potential risks and uncertainties of opening up to love. Despite this guardedness, there is a sense of longing and hope in the lyrics, as the singer acknowledges that their heart beats for the listener and that their love, at least for the moment, is genuine.
As the song progresses, there is a realization that the fleeting nature of love may lead to temporary connections or partings. The uncertainty of what the future holds is acknowledged, with the possibility of the relationship ending after just one night or possibly extending into something more meaningful. Despite the unknown outcomes, there is a sense of acceptance and a determination to embrace the present moment, with the belief that whatever happens, both parties will be enriched by the experience.
The singer expresses a mix of exhilaration and trepidation as the relationship unfolds, with their heart racing and emotions running high. There is a sense of urgency and a desire for the love to endure, despite the inherent risks involved. The lyrics convey a sense of surrender to the intensity of the emotions at play, even as the singer acknowledges the potential for heartbreak and the complexities of love.
Ultimately, the message of "Freeing My Heart" is a plea for understanding, honesty, and care in matters of the heart. The singer admits to their own vulnerabilities and past experiences of heartbreak, urging the listener to handle their heart with caution and respect. The lyrics remind us of the fragility of love and the lasting impact that relationships can have on our lives, emphasizing the importance of being mindful and considerate when it comes to matters of the heart.
Lyrics © CONSALAD CO., Ltd.
Written by: 옥주현
Lyrics Licensed & Provided by LyricFind
@nobodycares7233
Wow. I am black, 46, & remember this song playing on our TV when I was a little girl. For some reason I started singing “ohm baba ohm baba my my” and immediately thought of this song. Memories ❤️❤️
@JWGauntt
i remember my little cousins driving me crazy with this song, i couldn't listen to it for the longest , lol
@larrylollis5875
They deserve in the rock n roll hall of fame
@Emper0rH0rde
@@larrylollis5875 They're not rock and roll, though. They're country/southern gospel.
@faeryfeathers
@@Emper0rH0rdewhat is rock and roll anyway? And who gets to decide where the line is drawn? That line has moved all over the place in the last 70 years, and I think that these guys have fallen inside of it more often than not.
@lex-tr1bi
❤
@redskyatnight6317
When this song came out, my grandmother went out and bought a stereo system. It was better than any stereo system I had ever seen. Two 3' speakers on either side of her living room, with the bass kicking, singing "Elvira...hi ho silver away!!". I never knew my grandma knew how to rock it like that. Every time I hear this song, I think of her up in heaven singing this with the best bass ever. Thanks for the memories gram.
@leighirvine
Love this ❤️❤️
@redskyatnight6317
@@leighirvine what makes it even better is she had an old Palomino horse she called Silver!! 🐎. The horse's name was "Silvia", but when us grandkids would pronounce it when we were young, it sounded like Silva. So Silver it was.
@sethmerson1756
My bus driver would blast this on the way home
Mr buddy