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In My Time Of Dying

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Everytime I hear IMTOD, I'm a little perplexed by what Robert sings before the final "my dyin', dyin'...cough" I know the official line is "Oh My Jesus.." but it sounds so much like "Oh, Georgina.."

My daughter is called Georgina and she thinks it's cool as she believes Robert IS singing her name :D I have listened over and over trying to fit "Oh my Jesus.." but it's not working! I can't imagine it is Georgina but can someone confirm beyond doubt what the line is?

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It is Oh My Jesus. Or maybe Oh St. Pete or Peter.

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I think he changes it to All my cheating or all my children. But I haven't listened to the studio version in a while

Edited by NickZepp

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its ocho gina which in spanish means 8 gina. LOL

Edited by Pb Derigable

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Everytime I hear IMTOD, I'm a little perplexed by what Robert sings before the final "my dyin', dyin'...cough" I know the official line is "Oh My Jesus.." but it sounds so much like "Oh, Georgina.."

My daughter is called Georgina and she thinks it's cool as she believes Robert IS singing her name :D I have listened over and over trying to fit "Oh my Jesus.." but it's not working! I can't imagine it is Georgina but can someone confirm beyond doubt what the line is?

Take your pick:

"Watch your Jesus"

"Watch your cheating"

"I'll touch Jesus"

"Oh tortilla"

"Oh my teeny"

"Oh my cheeses"

"Oh, Georgina"

I'm not even sure Bobby knows himself ...

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Take your pick:

"Watch your Jesus"

"Watch your cheating"

"I'll touch Jesus"

"Oh tortilla"

"Oh my teeny"

"Oh my cheeses"

"Oh, Georgina"

I'm not even sure Bobby knows himself ...

I guess in our house it will be "Oh, Georgina" then :D

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In My Time of Dying" is a blues song that has been covered by many rock musicians since the early 1960s. The original recording was a traditional gospel song recorded by Blind Willie Johnson, titled "Jesus Make Up My Dying Bed"; his sides were recorded over the period 1927-1930.

JESUS MAKE UP MY DYING BED by Blind Willie Johnson.

Since me and Jesus got: married

Haven't been a minute apart

With the receiver in my hand

And re-ligion in my heart.

I can ring 'im up easy

Ahhhhhh

Oh well

Ring 'im up easy

Go make up my

Mmmmm

Weeping that he ain't: lost

They despised the Amen

Hanging on the Cross

Hanging there in misery

Ahhhhhhh

Oh well

Hanging there in misery

Go make up my

Mmmmmmmm

Mmmmmm mmmmm

Jesus gon' make up my

They despised the: Amen

Made poor Martha moan

Jesus said to his de-ciples

Come and carry my mother along

Dying will be easy

Ahhhhhhhh

Dying will be easy

Dying will be easy

Jesus gon make up my

I'm dead and: buried

Somebody said that I was lost

When it get down to Jordan

Have to bear my body across

Done gone over

Ahhhhhhhhh

Oh well

Done gone over

Make up my...

In My Time Of Dying

(Bonham/Jones/Page/P lant)

In my time of dying, want nobody to mourn

All I want for you to do is take my body home

Well, well, well, so I can die easy (X2)

Jesus, gonna make up my dyin' bed.

Meet me, Jesus, meet me. Meet me in the middle of the air

If my wings should fail me, Lord. Please meet me with another pair

Well, well, well, so I can die easy (X2)

Jesus, gonna make up.. somebody, somebody...

Jesus gonna make up... Jesus gonna make you my dyin' bed

Oh, Saint Peter, at the gates of heaven... Won't you let me in

I never did no harm. I never did no wrong

Oh, Gabriel, let me blow your horn. Let me blow your horn

Oh, I never did, did no harm.

I've only been this young once. I never thought I'd do anybody no wrong

No, not once.

Oh, I did somebody some good. Somebody some good...

Oh, did somebody some good. I must have did somebody some good...

And I see them in the streets

And I see them in the field

And I hear them shouting under my feet

And I know it's got to be real

Oh, Lord, deliver me

All the wrong I've done

You can deliver me, Lord

I only wanted to have some fun.

Hear the angels marchin', hear the' marchin', hear them marchin',

hear them marchin', the' marchin'

Oh my Jesus... (repeat)

Oh, don't you make it my dyin', dyin', dyin'...

(Studio Chatter: "That's gonna be the one, isn't it? "

"Come have a listen, then. "

Oh yes, thank you.")

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led bucket o'blood

by rachel s. hanks

to every great composition there exists a dual nature. to the figure drawer, it is the relationship between light and shade; to the musician, bright and dark: chiaroscuro-deep gradations and subtle variations. it is a unity created by the marriage of opposites. for the gospel-blues, it was the streetside preacher blind willy johnson, and for rock and roll, it was the notorious led zeppelin.

gospel-blues: a paradox. since the blues have always been associated with the devil, it's ironic to think that a baptist immortalized traditional slave spirituals through slide guitar and agonizing shouts and groans. but more ironic still is the consummation of blues with heavy metal to create the essence of heavy, light music-like a steel balloon, or led zeppelin (the "a" was dropped from "lead" so that americans wouldn't pronounce it leed)-chiaroscuro (davis 57). it was this technique that became led zeppelin's master trademark and, i believe, revolutionized the history of rock and roll-forever.

today blind willy johnson is acclaimed as the greatest blues slide guitarist to have ever lived (cohn 119-120). but jimmy page, zeppelin's guitarist, is heralded by any modern guitarist as "the greatest rock and roll guitarist" ever. what blind willy did with a bottleneck and jackknife to the neck of his guitar, page took above and beyond to the next level-utilizing violin bows, his trademark gibson fuzz box, the theramin, an echoplex, and metal slides (davis 17, 97; coffey).

inspired by johnson's jesus, make up my dying bed, zeppelin adapted and manipulated the apocalyptical tune and renamed it in my time of dying. in my opinion, this piece best represents zeppelin's keen sensitivity to light and shade. no other song better exemplifies their fragile but powerful use of dynamics, both in subject and sound. the song begins with a series of melancholy danelectro guitar slides, very mellow and hymnlike in nature, only to explode with an unexpected surge of sexual energy. the two play off one another and build intensity, only to recede back into docile churchmode again. at this point, vocalist robert plant intervenes like a banshee:

in my time of dyin', want nobody to moan

all i want for you to do is take my body home

the (s)explosion reoccurs with all instruments in unison:

well, well, well, so i can die easy

well, well, well, so i can die easy. . .

only to rebuild upon the moment of pleasure:

jesus, got to make you . . . shiver!

jesus, gonna make you,

jesus, gonna make up my dyin' bed!

and retract back into a hymn:

meet me, jesus, meet me!

ooh, meet me in the middle of the air!

if my wings should fail me, lord,

please meet me with another pair

and provoke more foreplay:

well, well, well, so i can die easy

well, well, well, so i can die easy. . .

and resurface to delight in the moment:

jesus, gonna make up . . . somebody! . . . somebody!

oh, oh! jesus gonna make up,

jesus, gonna make up my dyin' bed!

the beauty of the piece lies in the tension of the ebbing and flowing dynamics. it is this reoccurring pattern-from out of the slow drone of melancholy into brief intervals of ecstasy-that is not unlike blind willy's soul coming out of the dark (sin) and into the light (presence of god). each progressive build is anticipated by another lull. thus is the nature of humanity, coming to terms with god in the depths of humility and being lifted into the glory of god, only to fall from pride and continue the cycle again. zeppelin reinterprets this neverending round through their sensual wails of agony into ecstasy.

the song continues building upon the moment of elation, guitar and drums tearing into the silence, like the rotation of an engine. hysteria intervenes, and the guilty cry:

oh, saint peter! i can make amends!

won't you let me in?

i never did no wrong, i never did no wrong!

oh, gabriel, let me blow your horn,

let me blow your horn!

i never did no wrong, did no wrong!

i only can be young once,

i never thought i'd do anybody no wrong

no not once!

torque chews and burns into confession

oh, i did somebody some good,

somebody some good, yeah!

oh, did somebody some good, yeah!

i must have did somebody some good, yeah!

oh, i beleive i did, i seen the smilin' faces

i know i must have left some traces . . .

the plateau. page sustains the violent interplay between his drug-induced danelectro and the violent drums, elongates it-and it chortles. out of entropy and into sync, all reunite;

and i seen them in the streets

and i seen them in the theatre

and i hear them at my feet

and i know i tried to feel real

oh, lord, deliver me all the wrongs i've done

oh, you can deliver me, lord

i only wanted to have some fun

and pull into a steady, pulsating rhythm,

oh, keep the angel's marchin', marchin'

keep them marchin', keep them marchin', marchin'

and retaliate for a gasp of air-ecstasy! the point of equilibrium-the marriage of light and shade. the sources reunite and, in rapture, harmonize:

oh my jesus! (11x)

that's got to be my jesus! oh!

it's got to be, it's got to be my jesus!

it's got to be, oh, it's got to be my jesus!

oh, take me home!

friction is conjured and rebuilds:

come on, come on!

i can hear the angel's singin', oh

here they come, here they come

bye bye! bye bye! bye bye! bye bye! bye bye!

oh, it's pretty good up here, pretty good up here

i'll touch jesus (5x)

and loses itself completely in chaos

oh! oh! oh! oh! oh! oh! oh! yeah!

oh, i seen him, come on!

hey! (13x)

until the physical finally gives:

lord, won't you make it my dyin' dyin' dyin'. . .

. . . cough *

led zeppelin redefined the violent interplay of opposites. they possessed a touch sensitive to the delicacy of light and heavy to the allure of shade. the beauty of in my time of dying is the relationship of energy, tension, and release. the cycle rotates and builds, recedes, and rebuilds again. zeppelin knew just when to lay it on thick, and when to pull back.

some may listen and interpret this piece as a vulgar adulteration of a traditional spiritual. i see it as a very thorough introspective into the pomp and glory of led zeppelin's reign. although their music exemplified the beauty of restraint, zeppelin personified the image of ultra-excess. the album from which this song originates, physical graffiti, was released during the pinnacle of their career--a time when pride was high, and humility low (davis 118). thirsty for the thrills of disposable, ready-to-wear pleasure, they indulged and dabbled in every aspect of sex, drugs, and rock and roll. they were even rumored to have made a pact with the devil, at the crossroads, like many blues musicians (davis). they ascended their stairway to heaven only to kamikaze to the heel of the punk revolution and return wiser, sober (ahem), more humble men. out of the dark and into the light, they made up their dyin' beds.

while johnson's voice and guitar ranted on like a demon being exorcised out of possession, the only devil that haunted the blues was the community that oppressed the musicians themselves (bergeon). blind willy succeeded in combining spiritual with secular, uniting heaven with hell. the blues gave birth to rock and roll, only to be abandoned, and later repossessed by a small group of psychedelic experimenters/blues enthusiasts. i believe that led zeppelin's success and influence over all other hard rock bands came from their union of light with heavy; mellow "blood bucket blues" mingled with heavy rock and roll. these legendary doses of melody intertwined with aggressive guitar riffs and exploding rhythms epitomized the essence of chiaroscuro: the fruitful marriage of light and shade.

bring it on home, boys . . .

* zeppelin's added cough at the end is a slightly trivialized tip of the hat to johnson, who died of pneumonia from going to bed in his sopping wet nightshirt after extinguishing a fire that had consumed the majority of his house (hewston; cohn 120). thus, jesus was nigh in making up willy's dying bed (cough). this exhibits yet another dual side of led zeppelin: their inevitably irreverent sense of humor toward even their most revered idol.

sources

bergeon, thomas. re: communication breakdown.

thcb@chevron.com.

blueflame@surfin.com. the blue flame cafe.

http://www.surfin.com/TheBlueFlameCafe/index.html. 1997.

coffery, timothy john. re: more, more, more.

achilles@ece.wpi.edu.

cohn, lawrence. nothing but the blues: the music and the musicians.

new york: abeville press, 1993.

davis, steven. hammer of the gods: the led zeppelin saga.

5th ed. new york: ballantine books, 1989.

digital graffiti. led zeppelin lyrics--physical graffiti.

listserv@cornell.edu.

halfin, ross. led zeppelin: the photographers.

los angeles: 2.13.61 publications, 1995.

hewston, curtis. the blue highway.

http://www.vivanet.com/~blues/. amazon.com: 1997.

led zeppelin. physical graffiti.

remasters. new york: atlantic d-205832, 1975.

lybarger, jeff. re: blind willy johnson.

outriderjl@aol.com.

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Everytime I hear IMTOD, I'm a little perplexed by what Robert sings before the final "my dyin', dyin'...cough" I know the official line is "Oh My Jesus.." but it sounds so much like "Oh, Georgina.."

My daughter is called Georgina and she thinks it's cool as she believes Robert IS singing her name :D I have listened over and over trying to fit "Oh my Jesus.." but it's not working! I can't imagine it is Georgina but can someone confirm beyond doubt what the line is?

I think in a live version, he sang "Oh, Georgina", but it's not something a mother would want to hear. :ph34r:

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I think in a live version, he sang "Oh, Georgina"

From Infrequently Murmured Led Zeppelin Trivia:

This antiquated song from around the turn of the century is the cry of a man on his deathbed as he tries to have his life and soul justified. It is a cry from the edge of

the grave, an impassioned beg for mercy, and an attempt to ensure a place in heaven for the man's soul. Hence, the lyrics have, quite literally, got to be "It's gotta be my Jesus" and "Oh my Jesus" as it would make no sense, in such a moving, spiritual song which gradually builds up to a brilliantly executed catharsis, for Plant to start yelling out the name of some woman, Gina being the suggested name he uses.

However, when peformed live Robert did sometimes swap the Jesus for Georgina or Gina, depending on what sort of variations took his fancy on the night. But, on the album version it would make no sense for it to be anything other than Jesus. This ties in with the cultural values and beliefs prevalent in the culture Zeppelin came from, and from the spiritual side of the blues, as the original performer of this song, Blind Willie Johnson, sought to convey.

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Take your pick:

"Watch your Jesus"

"Watch your cheating"

"I'll touch Jesus"

"Oh tortilla"

"Oh my teeny"

"Oh my cheeses"

"Oh, Georgina"

I'm not even sure Bobby knows himself ...

"Oh my Cheetos" :D

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Take your pick:

"Watch your Jesus"

"Watch your cheating"

"I'll touch Jesus"

"Oh tortilla"

"Oh my teeny"

"Oh my cheeses"

"Oh, Georgina"

I'm not even sure Bobby knows himself ...

It could be "oh my jeans hurt!" LOL

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From Infrequently Murmured Led Zeppelin Trivia:

This antiquated song from around the turn of the century is the cry of a man on his deathbed as he tries to have his life and soul justified. It is a cry from the edge of

the grave, an impassioned beg for mercy, and an attempt to ensure a place in heaven for the man's soul. Hence, the lyrics have, quite literally, got to be "It's gotta be my Jesus" and "Oh my Jesus" as it would make no sense, in such a moving, spiritual song which gradually builds up to a brilliantly executed catharsis, for Plant to start yelling out the name of some woman, Gina being the suggested name he uses.

However, when peformed live Robert did sometimes swap the Jesus for Georgina or Gina, depending on what sort of variations took his fancy on the night. But, on the album version it would make no sense for it to be anything other than Jesus. This ties in with the cultural values and beliefs prevalent in the culture Zeppelin came from, and from the spiritual side of the blues, as the original performer of this song, Blind Willie Johnson, sought to convey.

Interesting, thanks. It is a very intense, moving song...one which is always on my list of favourites.

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"Oh my Cheetos" :D

OMG!!! That's what my friends and I used to joke when we were your age!!! :hysterical:

Great minds, eh Nic? :D

That said, if you listen to Vancouver 1975, Robert says "Oh Georgina, c'mon, lick your pu**y yeah!". Doubt he's asking the son of god to commit that act! :lol:

Yeah, it varies. It began as Oh my Jesus. Of course it did. Georgina ain't gonna make his dying bed, much less give him a pair of wings. But yes, Robert changed it up. Why? Dunno.

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OMG!!! That's what my friends and I used to joke when we were your age!!! :hysterical:

Great minds, eh Nic? :D

That said, if you listen to Vancouver 1975, Robert says "Oh Georgina, c'mon, lick your pu**y yeah!". Doubt he's asking the son of god to commit that act! :lol:

Yeah, it varies. It began as Oh my Jesus. Of course it did. Georgina ain't gonna make his dying bed, much less give him a pair of wings. But yes, Robert changed it up. Why? Dunno.

Oh my Ev :o:lol:

I will let my Georgina know that indeed Robert has sung her name...but not the naughty extras! :D

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Oh my Ev :o:lol:

I will let my Georgina know that indeed Robert has sung her name...but not the naughty extras! :D

That would probably be best! :hysterical:

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OMG!!! That's what my friends and I used to joke when we were your age!!! :hysterical:

Great minds, eh Nic? :D

That said, if you listen to Vancouver 1975, Robert says "Oh Georgina, c'mon, lick your pu**y yeah!". Doubt he's asking the son of god to commit that act! :lol:

Yeah, it varies. It began as Oh my Jesus. Of course it did. Georgina ain't gonna make his dying bed, much less give him a pair of wings. But yes, Robert changed it up. Why? Dunno.

Yup. :D

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It could be "oh my jeans hurt!" LOL

:hysterical::hysterical::hysterical::hysterical::hysterical:

Either way, it still is a great song! :yay:

Edited by GAC64

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